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JOURNAL OF MUSIC, 



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JOHN S. DWIGHT, EDITOE. 



VOLS. XXI AND XXII. 



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PTJBLISHED BY OLIVER DITSON AND COMPANY, 277 WASltlNGTON STREET. 



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IISTD EX. 



Alleged decline of musical interest in Boston (Eeply 

to Mr. Ryan,) 262,270 

AUegri's Miserere 71 

Among the Gipsies. Prom Liszt's "Bohemians." 113 

Artists' Exhibition, Studio Building. S 67 

Auber : Scudo on 291 



Bach, J. S. his Passion Music 53, 94, 106, 111 

Balfe, M. W. his " Mazeppa," 189 ; his " Armor- 
er of Nantes." 397 

Barbaja 227 

Barili family. The, A. W. T 19 

Bassini's Lectures on the Art of Singing 144 

Beethoven ; at Gneixendorf, 36 ; — his Quartets, op. 
18. JSlusical World. 258 ; — his Smfonia Eroica, 
how it should be rendered, 292, 299,317,324,331 ; 
— Posthumous Quartets, 332, 335 ; — Symphony in 
B flat (Berlioz,) 366 ;— Symphony in A, ...390 
Bennett, Wm. Stemdale : his "Naiads" overture. 382 

Berlioz, his " Beatrice and Benedict." 205, 212 

Blind Tom (Atlantic Monthly) ,2t>0; Editorial com- 
ments on, 254 ; Views of correspondents, 267, 268, 
275, 283, 286, 340 

Boieldieu, his life, 229 ; his piano 379 

Boston Music Hall Association, Annual Meeting, 95 
Boston, Review of the Musical Season in... 86, 94 
Bott, Jean ; his opera " Actaa, the Maid of Corinth," 

74, 80 

BoufFes Parisiennes, the 379 

Bowed Instruments, Origin and Progress of, by 

F^is, Translated by H. W. Bellows. 297, 305, 313, 

321, 329,337,345,353 

Brahms, Johann. Lond. Mus. World 389 

Browning, Elizabeth Barrett 392 



Cadenza, the. E. T. A. Hoffmann 211, 218, 225 

Calzado, Mons. — Spiridion's Letter 236 

Carreno, Teresa, the child pianist 327, 335 

Causerie Musicale. A. M. H. B 362 

Central Park in New York 90 

Chapman, Lizzie, Miss 14,30,63 

Characteristic? of composers, J. S. D 190 

Charity children at St. Paul's, 125 

Cherubini, 179, 187, 195, 213, 227, 235, 270 

Cherubini and Beethoven, 91 

Chickering's Gr'd Pianos: Gottschalk's testimony.325 

Choice of music, R. S. Willis 245 

Chopin, from Fetis's Biographie Universdle, Sfc. .249 

Church and School Music ( J. H. Kappes) 27 

Church Choir Union in New York, (Letter from 

Timothy Trill) 355 

Church Music (J. S. D.) 55, 78, 110 

Church Music in New X m'k. (Sunday Mercury), 'i\, 

100, 109, 117, 125, 171, 275 

Classical and Popular : another view (of the Alleged 

Decline, &c.), S 268 

Clementi, Muzio 277 

Comer, 'Thonaas, his death, 143 

Concerts, hints concerning. (Bach's Magazine).. 2i 5 
CoNCEKTS IN Boston : 

B. J. Lang (Mendelssohn's "Walpurgis Night") 38, 46 

Boston Mozart Club (Amateur) 30, 271, 319, 367 

Camilla Urso 391 

Dr. Tuckerman's Musical Service at St. Paul's 63, 71 

Gilmore's Patriotic Concerts 359 

Gottschalk 230 

Handel and Haydn Society : "Creation," 30; "Messiah" 319; 

"Elijah" 402 

Jubilee Concert in honor of the Emancipation Proclamation, 

New Year's Day 311, 326 

Mile. De la Motte 383 

Mendelssohn Quintette Club, 87, 278, 279, 287, 295, 303, 
310, 318, 336, 351, 358, 374, 391 

Miss L. Chapman 63 

Mr. Eichberg's Soirees 255, 263, 374 

Mr. J. K. Paine's Organ Concerts 239, 247, 265 

Mr. Parker's Club of Amateurs 7, 39, 319 

Orchestral Union, 7, 14, 22, 30, 39, 55, 70, 127, 135. 143, 161, 
176, 286, 295, 302, 318, 335, 351, 359, 367, 375, 383, 895, 403 

Otto Dresel'B Soirees 22 

Orpheus Musical Society 231. 359 

Philharmonic (C. Zerrahn), 6, 14, 334, 350, 366, 382 

Pierian Sodality (Cambridge) 351 

Prof. Child's War Songs for the Army 311 

Public School Festival 62 

Teresa Carreno 327, 885 



Conservatoire in Paris, Concerts at 397 

Conversational Tones, Richard Willis 163 

Cornelius, Festival in honor of, at Dusseldorf. . .232 
Correspondence ; 

Brooklyn, N. Y 255 

Bremen 256, 269 

Cincinnati. 45, 256, 302 

Dresden 347 

Florence 839, 847 

East Greenwich, R. 1 3(i5 

Hartford, Conn 93 

Milwaukee, Wis 358 

Naples .358 

New York, 45, 64, 74, 76 92, 110, 200, 204. 224. 240, 261, 262 

280, 285. 293, 301, 318, 333. 351, 357, 364 375, 893, 408 

Philadelphia, 81, 64, 93, 118, 280, 293.201,311,317.326, 3.33, 

341, 342, 352, 376, 390, 404 

Pittafleld, Mass 15 

Shelbyville, Ky 73 

Costa, M., described, , 114 

Curiosities of Criticism, by Timothy Trill, 170, 180, 
189, 196,202, 220, 228, 237 



Dannreuther, Edward 72 

Decline of Musical Interest in Boston : the causes 

(letter from T. Ryan), 260 ; — Editorial comments, 

262, 270; Another view(S) 268 

Decline of the Voice ; what are the Symptoms 1 Dr. 

Schwarz 243 

De Gustibus, &c 342 

Deutsche Musik-Zeitung,of Vienna : Suspension 

of 328 

Dore, Gustave — Phil. Eve. Bulletin 44 



Echoes 363 

Ellerton, John Lodge 355 

For as much as it is worth. A. M. H. B 387 



Gade, N. W: his " Comala" 7 

Garibaldi and Felicien D.avid 192 

Genealogical Disquisition, touching the Bariii 

family and Adelina Patti. A. W. T 19 

George Alexander Macfarren 406 

German churches. Worship in. Evangelist 190 

German Musical Association 115 

German Music, Early history of, G. W. Fink.169,178 
German Opera in New York, 240, 244, 280, 285 

" in Philadelphia 341,352,356,363 

Giuglini's "Italia" 204 

Gluck, list of his works 214 

Goldschmidt (Jenny Lind), Mme 145 

Gothic and Roman Churches 363 

Gottschalk, L. M. (Daily Advertiser), 1 1 9 ; in Boston 

then and now 222, 230 

Gounod; his "Queen of Sheba" 8 ; his "Faust" at 

Berlin 373 

Guerrabella, Mme 359 



Halevv, Death of 21 ; his life, 60, 116 

Halle,"Charies ; his life 82 

Handel Festival at the Crystal Palace, 1862, 4, 

10, 20 ; its lesson for us 150 

Handel and Haydn Society, annual Report 68 

Harvard Musical Association : its library, 207 ; An- 
nual Meeting 343 

Haydn's Diaries in England (with introduction by 

A. W. T.) 281, 289, 307, 315, 322 

Haydn, Joseph, and his Princely Patrons. By 

Doctor L 364, 371, 380, 386 

Hauptmann, Moritz : Life of 338, 401 

Heller, Stephen, Life of, by Fe'tis 332 

Historical Piano Concert ( flerr Pauer) 4 

Hiller, Ferdinand : his new opera. Die Katakomhen.Sb 
How Singers were paid 275 



Improved Fingering of the Flat Scales on the Piano. 

E. S. Hoadly 330 

Improvising, A few words about, (Musical Rwietv), 

159 
Inauguration at Harvard College; the music. ..391 



International Exhibition in London, 56,59,69 ; — Mu- 
sical instruments in, 126, 134, 142, 152, 166, 174, 

309, 390 
Influence of the audience on performers 407 

Joachim, Joseph : his Hungarian Concerto, 24 ; his 
playing of Bach and Beethoven 1 1 8, 368 



Keep your pi.anos in tune. (Benda) 207 

Klingemann, Carl, Death of 295 

La Fontaine as a librettist 84 

La Scala, at Milan 392 

Lassus, Orlando de 210 

Let us take a Lesson (from the Handel Festival). 150 
Liedertafeln, Dialogue about, Deutsche Musik-Zei- 

tung 257,265,273 

Liszt': his "Les Preludes," 6, 350; — L. in early life, 

173, 180. 

London " Music Halls." 381 

Lorini, Mme. ( Virginia Whiting) 192 

LuUi, a prototype of Wagner 182 



Malibran and her father 1 90 

Managijrial Puffing. Illustrated Times 43 

Manager and Critic. Lond. Mus. World 244 

Mario : why did he fail "i Barhagriggia 368 

Mayer, Carl, his death 176 

Mendelssohn : a Minority Report. Revue Cernmnigue 

230 
Mendelssohn : his "Walpnrgis Night," 38,46 ; M. and 
(ylara Novello,53 ; — his Gondola Songs, 1 02 ; Songs 
without words, Book I, 119; Do. by R. Schu- 
mann, 221 ; Songs for the Voice (Benda). 314; 
Overture, Die schone Melusine, 334; — Concerto for 

piano, op. 40 (Schumann) 353 

Mendelssohn's Travelling Letters, (Continued).!, 9, 

17, 25, 33, 41, 49, 57, 65, 73, 81, 89. 

Meyerbeer: Letter of to Jules Janin, 206 ; his "Di- 

n'orah " (Tribune), 284 ; Do. in Boston.. .378, 383 

Mon.ster Young Lady Concerts 78 

Moscbeles : his Piano Concerto, op. 93 (Schumann) 

353 
Mozart : Letter to a friend, 84 ; Fantasia and Sonata 
in C minor, 91 ; M. in 1786, 197 ; bis Masses (Deut- 
sche Musik-Zeitung), 209, 214, 217, 225, 2.33, 241 ; 
his Seraglio in N. York. 244; his so-called "12th 

Ma.ss," i342 ; his " French Symphony" 375 

Mozart's works, new thematic catalogue «frv"T . .-gSS 
Mnsic Abroad. 

Amsterdam 160, 383 

Barmen 384 

Berlin, 23, 38. 48, 74, 79, 88, 158. 165. 182, 200. 208. 213, 231, 
239. 248, 254, 264, 277, 318, 319, 346, 360, 365, 392.408 

Baden-Baden 56, 205 

Brussels 392 

Cassel 80 

Cologne 7, 32, 168, 278, 335 

Carlsruhe 248 

Dresden 24, 48, 56, 79, 141,'2n8, 264 

Florence ,. 56, 328. 360 

Halle 38, 48,200, 318 

Hannover .^ , 344 

Heidelberg 48 

Konigsberg 55 

Leipzig 7. 88. 72. 79, 93. 199, 208, 271, 328, 365 

London, 4, 24, 31, 37, 48. 55, 69. 84, 94, 102, 111, 125, 127, 

185, 141, 146, 149, 154, 165. 174. 181. 204, 278, 287. 296. 

311, 336, 866, SOS, 374, 384, 396 

Manchester _ 5 

Mayence 48, 223 

Milan 200 

Munich 48, 56, 200, 271, 318, 313, 336 

Naples 1.315 

Paris, 8, 31, 32, 94, 102, 164, 182, 200, 207. 246, 247, 258. 272, 
287, 296, 304, 312, 359, 366. 368, 374, 392 

Porto Rico, )3o 

Posen 5ti 

Rome 56, 158, 239 

Salzburg 200 

St. Petersburg , 248, 308 

Stuttgart 7. 56, 79, 174 

Vienna, 7, 23, 31, 88, 48, 168, 166, 182, 200, 223, 2.18, 264, 
328, 365, 368, 388, 392 

■Wiesbaden 24 

Weimar 174. 3S4 

Wurzburg 2(0 

Music in London, French impressions of, 145, 153, 
161 ; A German view of it 177, 185 



IV 



INDEX. 



Music at St. Peter's, Home. Klnussner 391 

Music, tlie true Academy of, Cifi/ Jlem (Piiiln.), 4 ; its 
influence on the intellectaal powers, 90 ; Thouixhts 
on tlie nature of, J. S. D. 158 ; On the high value 
of (E. T. A. Hoffmann) 162 

Musical Biography : how inadequate. Siit. Review, 

2e.5 

Jlusical Criticism, Vagaries of 400 

Slusical Festivals: Lower Rhine, 101, 146 ; Handel 
Festival at Crystal Palace, 121, 128, 133, 140;— 
Gloucester .229 

Musical Instruments in the International Exhibition 
(M. Fctis' Keport), 126, 134, 142,153, 166, 174, 

279. 

Mdsical Intelligence : 

B a n EOr , Me Va ^I 

BrookWu, N. Y 40,61 

Dover, N . H -So 

Fiirmington, Conn Ill 

Greenwich. K. 1 215 

Hnrtford. Conn -J i; ■ ??! 

JamaicH Plain. MaS3 1,i6, 142 

Milwaukee. \Vi3 16 

New Bedford, Muss 9I> 

New York 39, 61, 63, 135, 141, 167, 205. 216, 287 

Philadelphia 16, 40, 47, 61, 175 

PittsSeld, Mass 160, 167 

Providence, R.I 96, 176 

San Francisco 63, 88, 96,160 

St. Louis ;„••,•??! 

Syraeuse.N Y 40,119 

Taunton. Mass 16 

Worcester, Mass, 16, 40, 47, 61, 72, 104, 141, 144. 151. 192, 

303,328,367 

Musical Libraries 159 

Musical Revival, A 252 

Negro Songs at Port Royal, S. C 148 

Nelilhiirdt, A. (director of the Dom Chor in Berlin), 

his death 88 

New Publications, 1 59, 303, 348, 395 

Novello, Vincent ; his life and labors, by Mary 

Cowden Clarke, (continued) 28 



Old French Songs (M. Cousseraaker's discovery). 168 

Old Hundred after Victory 22 

Opera, History of, reviewed in Athen(eum. . . .11, 51 
Opera' English, in Boston : J. Eichberg's " Doctor 

of Alcantara" 14, 45 

Operas in the 17th and 18th centuries 357 

Opera, Italian, in Boston : 

Dinorah 383 

Don Giovanni 391, 394 

Ernani ■ 383 

II Barhiere 7 

I Puritan! 391 

II Trovatore 394 

La Favorita 22, 383, 403 

La Figlia del Reggimento 22, 383, 403 

La Juive 383 

La Soiinnnibula 15, 383, 394 

La Traviata 22 

Les Noces de Jeannette 390 

Lucia di Lammermoor 7 

Lucrezia Borgia 390, 394 

Martha 15, 383 

Masaniello 15 

Norma ■ ■ — ?83, 390 

~ -Roben le-Diabie .....; 399, 403 

Opera, Maretzek's Havana troupe in N. York. . .393 

Opera, the, its origin and meaning, J. S. D 198 

Operatic Composers and their Works 330 

Operatic Overtures (Mr. H. Lincoln's lectures).. .23 
Orchestras, in Theatres, N. Y. Tribune 345 



Organ : for New Bedford, 61, 96; — at St. Sulpice, 
Paris, 94 ; — for Boston Music Hall, 269 ; — for 
Bangor, Me. 327. 

Organs in Italy 393 

Original MSS. of great Compo.sers, A. W. T 43 

Overturing Organists, £o«(/o)i Mus. World 216 

Pacchiarotti 387 

Paganini's Ghost 218 

Palestrina. By Klaiissner 400 

Pape, Master Willie Barnesmore 63, 72, 343 

Paris, the musical year 1862 in. Gazette Musicale.Zbi 

Part-Songs (Mr. Willard's "Arion") 55 

Patti, Adelina, in London, 146 ; — in Paris. .294, 304 

Patti, Caiiotta 216 

Philharmonic Jubilee, in London 154 

Philister's Reminiscence, The, by A. W. Thayer.172 

Phillipps, Adelaide 143 

Philosophy of Music : Mr. Goddard's views. . . .276 

Phonics, or Doctrine of Sound and Hearing, by 

Lord Bacon, 194, 203, 234, 242, 266, 274, 298, 401 

Pianos and tlicir Ancestors, Alheiimum 84 

Pianoforte, the : Worcester's improvement 104 

Piano-fortes, American, in London. . . .180, 279, 309 

Pianos, keep them in tune 207 

Pianists in London (Jaell. Heller, &c.) 146 

Piatti, French anecdote of 1 84 

Piano Accompanyist, the. Oscar Commeliant ... .3\0 

Plenty of Tenors. London HJus. World 392 

Poetry : 

A New Sculptor, Julia Ward Howe .161 

A Lost Chord. Adelaide Anne Proctor 281 

A Poem to Patti. PmrJi 168 

By the Danube. From Karl Beck, C. T. B 289 

Boston Hymn ; Prologue to Jubilee Concert. R. W. Em- 
erson 337 

Bella on the Wind. Fanny M. Raymond 241 

Dr. 0. W. Holmes's Army Hvmn 326 

Fair Hedwig. Ballad, by F. Herbel 96 

Love Songs for Lunatics. Punch 52 

New Year's Song. John A. Dorgan 329 

Ottilia 305 

On the death of Mrs. Mary Booth, T. W. Parsons 389 

Paradisi Gloria, T. W. Parsons 233 

Songlet. Fanny Malone Raymond 345 

Stradivarius. From the French, by H. W. Bellows 361 

The Orchestra, C. P, Cranch 382 

Tennyson's Ode for the International Exhibition 49 

The O'Lincoln Family. Wilson Flcgg 65 

"There wag a King in Thnle," from Goethe's "Faust". .137 

The -'Jnvenis Adorana," N. L. Frothingham 145 

To Canaan ! Song of the six hundred thousand ( Tran- 

scripK 164 

The Cumberland, by Longfellow. Atlantic Monthly 273 

War Songs for Freedom : Harvard Students' Song (Mrs. 

Howe). •'.94; "We're at War" (C. G. Leland) 303 

Winter. From the German 389 

Port Royal " Contrabands," Songs of (Miss Mc 

Kim's letter) 254 

Psalmody, as it is . British Quarterhj 53 

Purcell, Henry 31 7 



Remarks on the Rendering of the "SinfoniaEroica." 

292. 299, 317, 324, 331 

Eeminiscences of Life in the Old World, by Klauss- 

ner 363, 391, 400 

Ristori, Titiens, and Mr. Ullman 325 

Roger's mode of Singing. W. H. Riehl 186 

Romantic in Musie, On the. Aug. Kahlert. . . .138 
Rossini : his "Titans," 8 ; "Preludes" for piano, 8 ; 

Sum paid him for 11 Barhiere, 21. 



Schubert, Franz, a Biographical Sketch, (continued), 
2, 9, 34, 97, 105, 114, 121, 129, 137 



Schumann, Robert : his Overture to "Manfred," 3 ; 

Translations from, bv S. A. Stern 353 

Scliiller's "Glocke" at Nazareth, Pa. J. H 253 

Schrorter-Devrient, Wilhelmine. Mrs. Ellet. . . .370 
Schroeter, Mrs. Her letters and notes to Haydn, 322 

" Schumannism," by an English composer 82 

Schubert, Franz : his Symphony in C 47, 55 

Self Delusion. Berlin Musik-Zeitung 197 

Singing : Actual state of the Art in the lyrical 
theatres of France and Italy. By Berlioz. 369, 377 

Singers of the Day : Trebelli 198 

Spohr, L. his " Jessonda," 258 ; — Historical Sym- 
phony 335 

St. Louis Philharmonic Society 259 

Stradivarius and the Violin. F. J. Fe'tis, translated 
by H. W. Bellows. 297, 305, 313, 321, 329, 337, 
345, 353. 

St. George's Hall, Liverpool 120 

Stabat Mater, Composers of, A. W. T 21 

Story, W. W., the sculptor : his African Sybil, 83 ; 

other works 393 

Sullivan, Arthur : his music to " The Tempest". 83 

Susini, Isabella Hinkley. Death of 119 

Symphony, a, out West 13 

Symphony and " Symphonic Poem " 206 

Taubert, Wilhelm : his life 52 

Telle, Fr. Wilhelm, notice of , 104 

Temperament, Remarks on. P. H. Van der Weyde, 

188 

Theatre Orchestras. N. Y. Tribune 345 

Thalberg, in London 153 

Thoughts on the nature of Music. J. S. D 158 

Tietjens, Mile., in London 161 

Tin Violin, The. From the French ot Adolph 

Adam 75 

"Titan," by Jean Paul, Brooks's translation 348 

Trebelli, Zelia. By Dr. Schwarz 198 

Uhland, Ludwig, Funeral of 316 

Urso, Camilla 367, 372, 382 



Verdi : his servant, 119 ; his rejected Cantata, 306 ; 
at St. Petersburg : his La Fonza del Destine . . . .308 

Vision at Covent Garden. Punch 1 56 

Violin, the History of, by F. J. Fe'tis, 297, 305, 313, 
321, 329, 337, 345, 353 



Wagner, Richard, compared to Lnlli, 182; his 
TannkSuser, by P. Scudo, 193, 201 ; W. and his 
critics, by Timothy Trill, 220, 228, 237 ; his File- 
gender Llolldnder, 271 ; explanatory programme, 
388 ; his concert in Vienna (new specimens), 409 
Wallace, W. V., his "Love's "rriumph.".. .288, 300 

War, its relation to music. Mus. Times 196 

Weber, C. M. Von : Letters by, 98, 107 ;— his Life 

of a Composer (an arabesque), 123, 130, 139, 147, 

155 ; — his "Oberon" (by Berlioz), 385, 389 

Welsh festival, a 206 

What for the Winter t 246 

What makes things musical 157 

Wind instruments, how they affect the health 259 

Young Composers, their danger 118 





mxmi 




Whole No. 522. 



BOSTON, SATURDAY, APRIL 5, 18 6 2. 



Vol. XXI. No. 1. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from Vol. XX. page 410). 

Isola Bella, July 24, 1831. 
You will smell orange blossoms, see blue sky, 
fine sunshine, sparkling lake, the moment you 
read the date. But no, it is dismal weather, it 
rains like mad, and thunders too from time to 
time ; in the mountains it looks as dreary, as if 
the world were nailed up with clouds ; the lake 
IS grey, the sky murky, I smell no oranges ; 
the island might as well be called Isola bruita. 
So it has been now for three days, — my poor 
cloak ! — And in spite of the outrageous weather 
I find myself very comfortable here. You know I 
am the spirit who constantly denies (ask mother), 
and as it is now the fashion with all the world to 
find the Borromean islands " not so beautiful," 
and rather stifle, and as the weather also seems 
disposed to slander them to me, I out of sheer 
defiance find them altogether splendid. The 
trip to these islands, with the green terraces, 
and the gay statues over them, and the many 
antiquated ornaments along with the fresh foliage, 
and all the Southern vegetation crowded together 
in full view, was very charming to me, and had 
also something touching, something serious about 
it. For what I had seen the year before in its 
fullness, in its luxurious wildness everywhere,and 
had got really accustomed to, is now transplanted 
artificially here once more, as if about to take its 
leave. Here are lemon hedges and orange 
bushes ; from the walls grow sharp-toothed aloes ; 
it seems to me as if at the end of the piece the 
beginning had come back once more, and that 
you know I always like. Then too I saw on the 
steamer the first peasant women in Swiss cos- 
tume; the people speak a bad, half French 
Italian ; it is the last letter from Italy. But 
believe me, the Italian lakes are not the most 
insignificant thing in the land ; anz!,— anything 
finer I have not yet seen. You wanted to per- 
suade me, that the huge forms of the Swiss Alps, 
which floated before me from childhood,* had 
expanded in my imagination, and that a snow 
mountain was not really so great as I had imag- 
ined. I was almost afraid of being undeceived ; 
but when I saw from lake Como only the first 
outposts of the Alps, veiled in their clouds, here 
and there bright snow and sharp, black peaks 
peeping out, and sinking steep down to the lake, 
covered first with trees and villages, then with 
moss, then bald and desolate, and full of snow 
rifts, then for the first time I felt as I used to 
then, and I saw that I had not exaggerated it. 

In the Alps all is much freer, sharper, more 
uncouth, if you will , but I feel better and more 
wholesome there. I have just returned from the 
garden of the castle, which I viewed in the rain. 
I wanted to do like Albano,* and had a barber 
come to open me a vein ; but he understood me 
wrong and shaved me ; the mistake was very 

* In the year 1821 the whole family had been in Switzerland. 

* In Jean Paul's " Titan." 



pardonable. From all sides gondolas are landing 
at the island, because to-day is the after-piece 
of yesterday's great festival, to which Cardinal 
Borromeo has engaged singers and musicians 
from Milan, who have performed before the 
islanders. The gardener asked me, whether I 
knew what a wind instrument was ? I said yes, 
with a good conscience, and now, he said, con- 
ceive for once of thirty such instruments, with 
violins and basses to boot ! Or rather, I could 
not conceive of it, for one must have heard such 
a thing, before he could believe it; the sound is as 
if it came down from heaven, and it all arises 
only through Filharmonia. What he meant by 
that, I do not know ; but it had made more im- 
pression upon him, than the best orchestra does 
upon many a musical connoisseur. Just now 
somebody is beginning to play the organ in the 
church over there, for service, after the following 
fashion : 



Moderato 



E=JilSs^f=sf 



UUa U.^ b.Ui-J kU.' Ui^ biU. 



The Bass with full organ, 16-foot Bourdon and 
drone stops, sounds wonderfully. The fellow 
came express from Milan, to show off his nonsense 
here in church. I will go over there a little 
while, so farewell for a moment. 

This evening I remain here, instead of crossing 
the lake ; I am too well pleased upon the little 
island. True, I have not slept now regularly for 
two nights, one on account of innumerable 
thunder-claps, the other on account of innumer- 
able fleas; and probably to-night I shall have to 
encounter both together ; but as day after to- 
morrow I shall already be speaking French, shall 
have lefl Italy and have pa.ssed the Simplon, I 
mean for to-day and to-morrow to drive round 
once more in right Italian stjle. 

I have now to relate historically how I came 
here. The Ertmann's called on me the last 
moment in Milan, at my room, and we took such 
hearty leave of one another, as I have not expe- 
rienced for a long time with anybody. I had to 
promise them to greet you many times in un- 
known ways, and to b t them hear from me 
sometimes. Another verj' dear acquaintance, 
which I made there, is that of Herr Mozart, who 
holds an office there, but is really heart and soul 
a musician. He must bear the greatest resem- 
blance to his father, especially in nature ; for 
you hear quantities of just such things from him, 
as touch you in the letters of the father, with 
their naivete and frankness, and from the first 
moment you must like him. For example, I find 
it very beautiful, that he is as jealous for the 
fame and praise of his father, as if he wore a 
young musician just beginning ; and one evening 
at Ertmann's, when a good deal of Beethoven s 
music had been played, the Baroness said to me I 



softly, that I might now play something of 
Mozart's too ; the son had not been as cheerful 
as usual ; and when I had played the overture to 
Don Juan, he brightened up for the first time, 
and desired also the overture to the Zauherfloie, 
by his " Valter," and took a childlike delight in 
it ; one could not but become fond of him. He 
gave me letters to acquaintances upon lake Como, 
and there I have peeped for once into an Italian 
town life, and entertained myself quite well for 
a few days with the doctor, the apothecary, the 
judge and other people of the place. There 
were particularly lively discussions about Sand, 
and many were disposed to admire him very 
much. It was strange to me, because it is rather 
an old story, and people scarcely quarrel any 
more about it. They talked also about the pieces 
of Skakspeare, which are now being translated 
into the Italian. The doctor said : the tragedies 
are good ; but there are certain witchcrafl pieces 
there, which are too absurd and childish ; espec- 
ially one : II Sonno d'una nolle di mezza state 
(Midsummer Night's Dream). Then came the 
old story, that a piece was rehearsed on the stage 
and that it swarmed with anachronisms and child- 
ish ideas. They all agreed, that it was very silly 
and that I could not read it.* I was silent and 
dejected, and made no defense ! 

Then I bathed frequently in the lake, sketched, 
sailed yesterday over lake Lugano, which made 
a bad face with its waterfalls and its black cloudy 
mountains, — then over the mountains to Luvino ; 
and to-day I have arrived here by steam. 

Evening. I have just come back from the 
Isola madre, where it was altogether glorious. It 
is broad, and full of terraces, lemon hedges and 
evergreen bushes. — The weather has at last 
grown somewhat human, and so the gi-eat white 
house upon it, with the ruins above, and the 
terraces in front, looked lovely. But it is a 
unique land, and I wish I could bring to you at 
Berlin a mouthful of such air as I just now had 
upon the boat ; there is none like it, and I would 
rather have you breathe it, than all the people 
who consume it here. — There was a very mus- 
tachioed German in the boat with me ; he looked 
at the beautiful nature, as if he had come to buy 
it, and found it too dear. Then occurred to me 
a story of Jean Paul's, verbatim. That is, when 
we went to walk upon the island through the 
green, an Italian who was with us said, here was 
the place to go with one's beloved and enjoy 
nature. Ah yes ! sighed I tenderly. " On that 
account," he added, " have I separated from my 
wife ten years ago, and set up a little tobacco 
shop for her in Venice, and now I live as I please. 
You must try it also some day ! " — The old boat- 
man told how he had taken General Buonaparte 
upon the lake, and knew many stories of him and 
JIurat. Blurat, he said, was altogether strange. 
During the whole trip he kept singing on all to 
himself, and once when he was on the journey, 
he had given him his brandy flask and said, he 

* The Overture to the Mi'hmnnicr Nighrs Drmtn had 
already been composed by Mendelssohn in the year 1826. 



DWIGHT'S JOUENAL OF MUSIC. 



would buy himself another in Milan. I know 
not why these little anecdotes, especially the 
singing, recalle<l the whole man more to me,than 
many a historical book. 

The '• Walpiirgis Night " is finished, and 
trimmed out; the overture will soon be done 
too. The only man, who knows it yet, is Mozart, 
and he was so much delighted with it, tliat the 
familiar things adbrded me new fun; he urged 
me to have it printed imnieiliatidy. God forgive 
this student-like letter. You see by it, that I 
liave worn no neck-tie for a week. But I wanted 
to write to you once, to tell you, how bright and 
well I have been during these <Iays in the moun- 
tains, and how I enjoy those that lie before 
me ! Your Felix. 

A V Union, prieuri ilu Cliamnunix. 
End nf July, 1831. 

Dear Parents ! 

From time to lime I must write you a letter of 
thanks for this wonderfully beautiful journey ; and 
if I have ever done it, I must do it again now, 
for never yet have I experienced more glorious 
days than I have had on the whole of the way 
here, and since I have been here. Fortunately 
you know the valley here, so that I need not des- 
cribe it ; and how would that be possible ! So 
much only let me say, that nowhere yet has 
nature come before my eyes so clear in all her 
splendor, as she has here, both when I saw it for 
the first time with you, and now. And if every 
one, who sees it, must thank God for giving him 
the sense to comprehend and feel this grandeur, 
so must I ton thank you, who give me all this 
joy ! Y'ou wanted to persuade me that the 
forms of the mountains had become magnified in 
my imagination ; but yesterday at sunset I walk- 
ed up and down before the house here, and tried, 
everytime that I turned my back upon the moun- 
tains, to form a vivid conception of their masses; 
but everytime, when I turned round again, they 
far exceeded my idea. 

It was morning, you remember, when we 
started oil from here, and the sun was rising.* 
Just so bright and clear have the mountains been 
since I have been here : just so pure, and sharp, 
and near, the snow against tho'dark, blue atmos- 
phere ; the glaciers thunder continually, because 
the ice is melting : if clouds come, they rest 
lightly against the sides of the mountains, while 
the summits stand out clear above them. O that 
we could see it together I I have spent this 
whole day here quietly and all alone. I wanted 
to sketch the appearance of the mountains, went 
out, found a splendid point, but the moment I 
opened the portfolio, the page seemed to me so 
very small, that I could hardly persuade myself 
to begin. I have brought out the forms perhaps 
what one would call correctly; but yet every 
line looks so stiff, compared to the grace and 
freedom everywhere here in natui-e. And then 
the glories of color 1 In short it is the bright 
point of my travels; and the whole of the jour- 
ney on foot, so alone, so free and easy, is some- 
thing new, and an unknown enjoyment for me. 
But I must tell you how I came here, else there 
will be nothing in the letter, after all, but ejacula- 
tions. 

On Lago Maggiore and the islands I had, as I 
have written you, the worst weather. It contin- 
ued so persistently dreary, wetandstormy.that in 
the evening I took a place in the diligence consid- 

• In the year 1821. 



crably out of humor, and drove toward the 
Simplon. Scarcely had we proceeded half an 
hour, when the moon came out,the clouds parted, 
and on the next morning it was the brightest 
and most splendid weather. I was really shamed 
by such good fortune, and now I could enjoy the 
whole godlike way, to my heart's content, as it 
wound along, first through the high green valleys, 
then tlirniigh the narrow rocky passes, then 
through the meadows, and finally past the gla- 
ciers and snow mountains. I had with me a litlle 
French book about the Simplon road, which 
pleased me much, and also touched me ; for it 
contains some correspondence between Napoleon 
and the Directory about the projected work, and 
the first report of the general, who passed the 
mountain. As I wheeled up the even, finished 
road with the Austrian postilions, I was much 
struck by the way in which his letters are writ- 
ten, — with what inspiration and boldne.'s, — not 
without a bit of brag too, — but with what a glow 
of enthusiasm ; — and when I compai-e the fjre, 
and the poesy, which speak from that description 
in the letter (I mean always that of the subaltern 
general), with the eloquence of to-day, which 
leaves one so frightfully cold, and which in all its 
philanthropic views is so confoundedly prosaic, 
and limps so awkwardly, and in which I see 
fanfaronades perhaps, but no youth, — I cannot 
help feeling as it a great perioil had passed away ! 
I have not been able to get it out of my head, 
that Napoleon never saw this work, one of his 
favorite ideas ; for he never passed over the fin- 
ished Simplon road, and did not taste the joy of 
it. Up in the village of Simplon it is bleak 
enough, for a year and a half I have not felt so 
cold. A neat, polite French woman keeps a 
hotel up there; and that too is a hard thing to, 
describe ; how pleasantly such needy cleanliness, 
never found in Italy, affects one. Then we de- 
scended into the Valais as far as Brieg, where I 
passed the night; happy to live once more among 
tlie honest, natural, German-speaking people, 
who nevertheless have cheated and deceived me 
infamously. 

The ne.xt day I went on down the Valais, — a 
most lovely route. The whole way is as you 
know it in Switzerland, — between two high rows 
of mountains, over which the snow peaks peep 
out here and there, in alleys of stout green nut 
trees, which stand near the pretty brown houses; 
down the wild, grey Rhone, and over it at Leuk, 
every quarter of an hour a village with a little 
church. From Martigny I travelled for the first 
time in my life actually on foot, and in fact — 
since the guides were too dear for me — for the 
first time quite alone, with my cloak and pack 
upon my shoulders. In a few hours I found a 
stout young peasant, who became both guide and 
carrier to me, and so we went on past Forclas to 
Trient, a little herdsmens' village, where I break- 
fasted on milk and honey ; from there upon the 
Col de Ralme. There lay the wdiole vale of 
Clinmouni, with l\Iont Blanc, and all the glaciers 
sinking down into it, before me in the sunshine. 
A party of gentlemen and ladies (one very pret- 
ty one among them) came up upon the other side, 
on mules, with many guides ; and scarcely were 
we all together under a roof, when a soft mist 
came, and veiled first the mountain, then the 
valley, then enveloped all so thickly that there 
was nothing further to be seen. The ladies were 
afraid to go into the fog, as if they were not al- 



ready in it up there ; finally they started off, and 
I viewed from the window the odd spectacle, as 
the caravan left the house, laughing, talking 
loudly, French, English, Patois ; then the voices 
became undistinguishable ; then presently the 
forms also ; last of all went the handsome lady 
with her wide Scotch mantle ; then you still saw 
only grey shadows here and there, — then they 
were wholly gone. A few minutes afterward I 
sprang down the mountain in the opposite direc- 
tion with my guide ; we soon came into the sun- 
shine again, then into the green Chamouni valley 
with its glaciers ; finally here to the hotel 
Union. 

I have just come from an excursion on the 
Montanvert, the Mer de Glace, and to the source 
of the Arveiron. Y'"ou know these splendors, 
and so you will pardon me if, instead of going on 
to-morrow to Geneva, I first make the tour 
around Mont Blanc, so as to become acquainted 
with the gentleman upon the South side also, 
which is said to be still more grand. Till we 
meet happily again, dear parents ! 

Your Felix. 

(To be continued.) 



Translated for tbis Journal. 

Franz Schubert. 

A BIOGEAPniCAL SKETCH. 

From tbe German of Dr. IlEisRicff ton Kreissle. 

(Continued from Vol. XX , page 412 ) 

Schubert was a thoroughly musical nature. Of 
him it might be said that he felt things only mus- 
ically, and only so could he express himself. To 
be sure, this peculiarity had also its shady side. 
It cut him off too much from all other mental in- 
tercourse, and placed him necessarily upon a 
one-sided stand point. He lacked those media- 
tory ways, by which other artists, aided by en- 
larged views of the world and by the power of 
higher culture, would, with his talent, achieve 
greater things. Schubert was, like all men of 
genius, a naive character. Unconcerned about 
praise or blame, never separating anil rounding 
off with a critical eye, he kept on in his musical 
bllssfulness creating, and if he rested in the even- 
ing, it was only to begin again the next morning, 
as if nothing so far had been done. 

Only in this way can we explain it, that he 
has given us, with his finished works, so much that 
is half-done and incomplete ; and that we do not 
perceive in his works, so unmistakably as in those 
of most composers, a steady, gradual unfolding of 
his talent. Many of his compositions, some of 
his songs especially, should we consider the period 
of their origin, would furnish surprising proofs of 
this. 

One consequence of his innate aversion to any 
critical probe was, that he ventured upon the 
composition of poems, which are anything but 
suitable for musical treatment. Such is the case 
■with a portion of Schiller's poems; their ideal, 
reflective lyricism rather resists than favors musi- 
cal expression. That Schubert pushed his way 
through triumphantl)', without breaking down, is 
proof of his astonishing talent, and is to be ex- 
plained again by that verj' peculiarity, which 
makes his character so attractive to us, — his 
habit of reproducing anything, even the most 
dry and brittle stuff, musically. 

In the class of poems not to be composed be- 
long the great Schiller ballads, of which Schu- 
bert set to music "i)/e Biirgschfifl," "The Diver " 



BOSTON, SATURDAY, APRIL 5, 18 6 2. 



and "Eitter Togsenbur;;." Even tliis poetry 
is too idealistic and tendenliStt, to be directly 
cfFeetive ; and if, as one would of course expect 
of Schubert, some fine and beautiful single traits 
occur in the music, still it is spun out to a fatig- 
uing length. Moreover in the field of ballads, 
since his time, Cari. Loewe, of Stettin, has ac- 
complished such important things, that he takes 
precedence in that field undisputably before all 
other composers. 

Although Schubert's songs, taken collectively, 
are so unique and individual in comparison with 
all other musical productions of the same kind, 
yet they offer such varieties of character, as to 
justify a division of them into certain groups. 
Some of them, especially those of the earliest 
period, still adhere to the old song form ("Shep- 
herd's Lament," " Little heath rose," " Hunter's 
evening song," &c.) ; in them the purely lyrical 
element still predominates. But presently comes 
out sharp characterization, impulsive life, rising 
of feeling to the situation. The lyrical songs are 
followed by the didactic ; these by the songs from 
Ossian and from Walter Scott ; and finally come 
the antique. But through them all, the last class 
not excepted, breathes more or less that breath 
of the romantic, which is peculiar to Schubert's 
tone-pictures, and which enables us to distinguish 
their creator among thousands. Perhaps this 
romantic element has detracted somewhat from 
the perfected plastic rounding off of the antique 
songs ; but certainly not from their worth ; for 
it is in precisely these that Schubert's genius ap- 
pears in its full greatness. It is also a peculiari- 
ty in Schubert, that, in his songs at least, there 
is no echo of popular melodies to be found. The 
explanation of this may be found again in his 
astonishing reproductive power, which urged him 
always to an artistic working up of the material 
under his hand. 

Schubert's songs are a world in themselves ; 
there is scarcely a shade of human life, that does 
not find its expression in them. Love and hate, 
joy and sadness, defiance and resignation, gentle- 
ness and anger, all feelings and passions, as they 
find vent in men, appear there in wondrously 
multiform alternation ; and the deepest mys- 
teries of the human heart press, now in softly 
soothing, then again in thrilling tones, to the 
light of day. With some single bits of worthless 
dross they contain a shaft of glistening gold, and 
while they are an inexhaustible source of enjoy- 
ment to the friend of Art, they are to the pro- 
ducing artist a perpetual stimulus to further 
creation. 

The name of Vogl is most intimately interwov- 
en with Schubert's songs. To him Schubert 
owed their rapid spread in wider circles and the 
recognition of their high worth. A nature so 
averse to all that is common in life and Art, as 
Vogl's was, could only exercise a furthering 
power over Schubert, who was not wholly inac- 
cessible to opposite influences. But the reverse 
side of this relation consisted in the fact, that 
Schubert under Vogl's influence wrote many 
son^s for a register of voice, which is seldom to 
be found ; whereas Vogl, to whose voice they 
were admirably adapted, knew how to produce 
the most powerful effects by certain departures 
from theonly natural and artistic singing, such as 
a word spoken without tone, a cry, or a falsetto 
sound. 

Another not quite satisfactory consequence of 



that relation was, that Schubert gave himself up 
too exclusively to the composition of songs, many 
of them of the smaller kind, instead of trying 
his hand more in larger musical forms, in which, 
to judge from what he has done, he was also 
called to do great things. 

Vogl, to whom a second period of fame as a 
song-singer was allotted after his retirement from 
the stage, passed in fact for the first dramatic 
singer of Germany ; and some of his performan- 
ces, such as Orestes, Telasco, his Oculist and 
Jacob Friburg were models ; but he had by no 
means acquired a thorough school in singing ; 
proper vocal culture with him was out of the 
question, and he was as much a singer by nature, 
as Schubert was a composer. Vogl outlived his 
friend about twelve years, and although already 
much advanced in age, he kept on singing, 
making the most of all his routine and of the 
last remnants of his voice, and thereby surren- 
dering himself to an affectation and a self-com- 
placency, which seemed to increase in the same 
ratio that his vocal powers diminished. He died 
on the 20th of November, 1840, at the age of 72. 

As to the manner in which Schubert's songs 
ounht to be sung, there always wa and will be 
great difference of opinion. After all it must be 
left to the insiffht and taste of the singer, by 
what mode of delivery he will best secure their 
true effect. But it will be interesting to know, 
that Schubert, when he sat at the piano to accom- 
pany, always kept the strictest time, with the 
exception of course of those passages in which a 
change was expressly indicated. And so Vogl 
always sang in strict time, although in his later 
years he exaggerated the expression in his sing- 
ing to a ludicrous degree. The best proof, that 
Schubert's songs, by their wealth of melody and 
their significantly rich accompaniment, bear 
their whole value in themselves, lies in the fact, 
that several singers, neither distinguished by 
deep culture, nor by any especial art in sing- 
ing, produced the best effect solely by rendering 
the songs naturally and simply. 
iTo be continued.) 



For Dwight's Journal of Music 

On Robert Schumann's Overture to Byron's 

"Manfred." 

Letter No. VIII. 

(Translated from Louis Ehlert's "Breifauber Musib," by 
Fanny M. Raymond. 

Manfred, fearful shadow ! who has called thee up, 
thou restless ghost, whose questionable shape, awak- 
ening awful surprise, now gazes on me 1 Who has 
burst the bars of thy tomb, so that thus, in a won- 
drous language, thou canst relate to me the passion- 
ate history of thy crucified gods, thine eternal woes 1 
What sounds of complaint enchain mine ear. What 
a Bea of tone-waves overflows my soul ■? And hark, 
the cry of frenzy ! Fettered humanity lies in the 
sickness of despair, and destiny sits in judgment. As 
the chords storm together, as the violins thrust out 
t'lcir serpent-like tongues of tone, hark to the synco- 
pated broken foundation in the basses, as though the 
ground were opening beneath the feet of this "dark 
glow of a boundless, rich dispair." In many places 
the harmonies hurry in battle tumult upon each 
other, as though they would strangle one another ; 
amid the Titanic struggle of the feelings that seem 
to burn through this orchestra, the human heart 
would bo annihilated, were it not that .amid the 
deepest darkness, the recollection of Astarto, that 
mysterious love, tenderly, designedly veiled by the 



poet, steps forth, and restores the shattered soul to a 
comparative equilibrium. 

" Manfred" is beyond the reach of ordinary judg- 
ment. Far more than by tliat peculiar crime, which 
the poet only permits us to divine, we are fettered 
by the features of a general consciousness of crime, 
which stands bare before us, one with an ideally 
fallen, monstrous personality. Whether this figure 
is or is not a torso, which we cannot restore to its 
own full individuality, yet we find in the tragedy, as 
Goethe once said, " the quintessence of the mind aud 
passions of a wondcrfid talent, bom to be its own 
torment." " Manfred " is Byron's " Faust." Goethe 
understood this well : " This rare, richly endowed 
poet," said he, " has taken my Faust to himself, and, 
like a hypochondriac, has drawn a strange nourish- 
ment from it. He has used the principal motive, 
which was contrary to his own aim, so that it is no 
longer the same, and in such a way, that I cannot 
sufficiently admire his intellect on this account. This 
transformation is so remarkable, that many interest- 
ing arguments might be given upon the resemblance 
and dissemblance of it with the model," &c. 

People have been inclined to regard Robert Schu- 
mann as a seer who turns his light within. With- 
drawn from the light of the outer world, an eccentric 
inclination towards lyrical life unfolds itself in this 
exclusively subjective nature. In this reserved being, 
the rarest forms thrive, under the pressure of an at- 
mosphere, whose tropical temperature reminds us of 
our hothouses. 

This connection with life is circumscribed to the 
utmost, every entrance darkened obstinately, in order 
to remain true to an inflexible inclination to entangle- 
ment and dispairing. Here the mind flutters on the 
extreme borders of perception, like a night-moth' 
and not ev n ihe knowledge of certain impossibility 
can restrain it from destructive endeavors. The 
wh 'le circle of Faust-like reflections and moods is 
inexorably laid aside, without any consolation being 
derived from a self-proposed circumscription, or the 
satisfaction of having employed inward powers to 
their utmost extent. In such an hour of discon- 
tented existence. Manfred's own soul appears to 
him. With what dramatic freedom his inward being 
then stands objectively before him ! This life-giving 
deliverance drives him involuntarily to set every 
means of his art in motion, in order to fetter the 

apparition. 

The indescribable, incomprehensible mood of mind, 
to express which, in this painful trope, brought with 
difficulty to the light of day, the poet has vainly ex- 
erted the speech of vowels and consonants, is here 
measured by the probe of tone, and, with the help of 
a sister art, in a manner explained and elevated. 
The frightful secret of Manfred, which shrinks from 
the touch of words, how far more tragically it reposes 
in this gloom, only marked by the feverish pulsations 
of the conscious basses ! Yet this, although but a 
galvanic sign of life, is so sufficient, that we have no 
opportunity to forget it, on whatever ground we may 
find ourselves. Manfred storms on his restless 
course, imploring death, longing for forjretfulness, 
ever despairingly abandoning the spirits that he calls 
up to answer his needs and questions ; the picture of 
a ruined soul, insufficient to itself Only that recol- 
lection of love, that wanders through his whole life, 
that melody.wreathed of ivy, struggles on to the close 
of the overture against the decree of the gods ; but 
even th.it is interrupted by sentence of death, and 
soon nothing more remains save the awful right of 
this E minor third, the trumpet voices of the three 
fates with tlicir brazen stro|ihes : 

" Our hands contain tlie hearts of men, 

Our footsteps are tlieir graves; 

■\Ve only give to talve again 

The spirits of our slaves I" 
Although the nature of such material as this ex- 
cludes simplicity in the handlinp;, yet the pathos 
with which these portentous feelings are expressed , 



DWIGHT'S JOURNAL OF MUSIC, 



has a natural freedom, and does not display any of 
that weakness of phrase, that paradoxical existence, 
which necessitates in tlie hearer a contused state of 
mind. The way to the understanding of Schumann's 
spirit goes through the leaves of this fiery overture. 
It is a pliotographically true picture of the painful 
efforts of a wrestler, whose darkened exit yet weighs 
heavily on every soul. Let such a requiem mass bo 
held for me, when my heart breaks. But first con- 
vince yourself that I am really dead ; for were there 
but a sparkle of life left in me, it would start up be- 
neath the world-touch of tliese " sounding flames." 



The Great Triennial Handel Festival at 
the Crystal Palace, m 1862. 

(From the Pamphlet Programme of the Directors.) 
First Extract. 
It has therefore been determined that the entire 
Orchestra, and tlie space beyond it as far as the in- 
tersection of the Great Transept witli the Naves, 
shall be solidly roofed in. 

It may be useful again to repeat that the Orchestra 
at the Crystal Palace — 216 feet wide — is doul)le the 
diameter of the dome of St. Paul's, or nearly equal 
to that of the great dome of the 1862 Exhihlilon 
Building and Exeter Ilall combined ; while it is nearly 
as deep from front to back as Exeter Hall is long. 
It will thus be seen what scope there is, under proper 
provisions, for great effects with Handel's Choral 
Music. Apart from the superlative grandeur pro- 
duced by the hosts of players and singers, the charm 
of hearing one part after another taken u]i in different 
nnd distant portions of this immense Orchestra, is a 
new feature in Festival mnsic. Catliedral musicians 
know the advantages derived from the antiphonal 
character of anthems and services. But what in 
cathedral music could equal the sublime effect at the 
1859 Festival, in the chorus " Lift ttp your heads," 
with the inquiry, " Who is the King of Glory 'i " res- 
ponded to by, " The Lord strong and miijhtij ! " The 
effect of the trebles and altos in the centre of the 
Chorus, answered by the tenors and basses, so widely 
apart as to appear distinct choral forces, was some- 
thing without parallel in the history of music. Again 
from similar reasons of number and great space 
between each part, what could compare with the 
violins in the Amen fiiyiie ; the giving out of the 
subject by the first violins, and its repetition by the 
seconds from the opposite side of the Orchestra, 
created a new sensation. 

It was this combination of numbers and distance 
that made " Israel in Egypt" so sujierlativcly grand. 
The tenors and basses in " He spake the irord," re- 
plied to by the trebles and altos with " And tliere came 
all manner of Jiies*' — the hurling and tossing of mas- 
ses of sound in the Hailstone Chorus, as the words 
" Fire ! " " Hail ! " burst from side to side of that 
immense Orchestra, cannot be forgotten, any more 
than the solemn, unearthly lament of a people in the 
" thick darkness, which might be felt." The broad 
massive grandeur of " He rebidced the Red Sea," with 
its attendant miracle, fearfully whispered, " And it 
was dried up," followed by the defiant march, " He 
led them through the deep," again followed by the over- 
powering jubilance of " The waters overwhelmed," the 
whole Oratorio wound up by that gnmd chain of 
Choruses, commencing with " The Lord shall reit/n " 
— produced a succession of stupendous musical effects 
which, at this distance of time, leaves the writer (who 
from upwards of thirty years' experience of great 
musical celebrations, is liot easily led into undue 
excitement) amazed and overpowered by the sublim- 
ity and force, both of concejtiion and execution, 
reached in this delineation of the wonders which ac- 
companied the triumph of the Israelites. 

Volumes might be written de.'criptivo of the new 
interest with which the " Messiah " and " Israel " 
were invested at the 1859 Festival, did space permit: 
a word or two, however, must be said on the cflects 
produced by some of the less known works, as, for 
instance, the opening of the Te Dcum, " We praise 
Thee, God;" the Sanctus, "Holy, Holt, HOLY, 
Lord God of Sabbaoth." The execution of these 
Choruses afforded amazing examples of choral force. 
Perhaps, however, one the most remakable instances 
of the masterly union of conception and execution 
■was in the Chorus fi-om Saul, " Envy, eldest horn of 
Hell!" the passage in which, "Hide thee in the 
blackest night," produced an immense impression, 
the more to lie noticed, as this Chorus was probably 
unknown to nine-tenths of the audience. 

That the great Choruses in " Samson," " Kr'c/ m 
Eis eoerlasting Seat," and " Let their celestial Con- 
certs," with the pathetic " To dust hisglory Ihri/ would 
tread," as also that wondrously powerful Chorus from, 



"Judas Maccaba;ns," " We worship God," should 
produce astounding effects, can readily be conceived ; 
imt for the general audience the culminating point 
was undoubtedly reached in "See the eonquerring 
Hero comes." "The prodigious power of the entire 
Chorus and Band, aided and reinforced by every 
combination of modern instrumentation so skilfully 
added to Handel's original score by Mr. Costa.caused 
this popular composition to stand out beyond belief. 
The marvellous effect produced hy it can only be ap- 
preciated by those who heard it. The rapturous 
applause of the assembled thousands was a proof of 
the extent to wrich their feeling had been excited. 

Such critical disquisitions may at first sight seem 
out of place here. As, however, one of the objects 
for consideration was the propriety of confining the 
coming Festival to Handel's music, it was considered 
that some slight reference to the marked points and 
pecuiiarilies of the 1859 Handel Festival would 
afford the best introduction to the subject. 

Since the 1859 Festival, opportunities have offered 
for testing, on a large scale, two of the most popular 
Oratorio.s — "The Creation," .and " Elijah," in May 
1860 and 1861. As these were siven as single day's 
performance, it was not practicable to make the same 
extensive arrangements for Band and Chorus as 
could be done for a longer festival ; the Orchestra 
comprised, however, nearl}' 2,500 performers, and 
enough was accomplished to enable a correct esti- 
mate to he formed for future guidance. This may he 
summed up in a few words, viz : That although very 
many clioral points of Haydn's and Mendelssohn's 
Oratorios were rendered with a force and vigor which 
imparted additional novelty and grandeur to them ; 
and although some passages of more subdued char- 
acter acquired a charm and pathos without precedent 
— yet on the whole, the general success was by far 
the greatest with Handel's music. This is only what 
might have been anticipated ; Handel's Oratorios are 
broad ann massive, producing nearly all their great 
choral effects through the medium of the four voice 
parts only ; Haydn's and Mendelssohn's works de- 
pend more upon minute detail and nicety of expres- 
sion. With the former, the Orchestral force may be 
added to and piled up to any extent, with increasing- 
ly grand I'esults ; hut with the latter it becomes a 
matter of impossibility to do so without risk of losing 
that clearness and distinct execution so essential to 
their full appreciation- 

What modification of these opinions may result 
from the intended additions to the great Orchestra, it 
is needless here to speculate upon : for present pur- 
poses, it is enough to state, that for the reasons herein 
adduced, it has been determined to select the music 
for the 1862 Festival entirely from the works of 
Handel. 



The True Academy op Music. — In Euro])ean 
countries the Arts are nourished by the liberality of 
the Government; in this country they are dependent 
upon the appreciation of the people. In monarchies 
the revenue of nations is enjoyed and distributed by 
few ; and it is probable that the fame of Michael 
Angelo would have been les.sened had he depended 
upon the patronage of the many. It was not the 
Athenians, but Pericles the ruler of Athens, who 
employed Phidias to build the Parthenon. The great 
Cliurcii of Rome has for centuries given groat artists 
definite ambition and fitting employment: it was for 
Rome that Michael Angelo created the dome of St. 
Peters, for Rome that Raffeale painted the Transfig- 
uration, for Rome that Palestrina, Mozart and Haydn 
imagined tlio,se divine harmonies that are now the 
property of the world. 

It is questionable if a Republican government can 
properly employ its revenue in direct encouragement 
of the iirts. A bill to appropriate $300,000 for the 
support of a Grand Opera would earn its author the 
contempt of millions. In this country Art must 
stand upon popular appreciation, and it is possible 
that its ultimate interests are better served by natural 
dependence than hy artificial encouragement. 

If our artists would achieve the position they de- 
serve, they must combine their efforts, iln Painting 
this has been done ; the Academy of the Fine Arts 
is rapidly becoming all that we could ask. But, 
Music can claim no such institution. 

There are no musicians in America better than 
those resident in Philadelphia ; there is no musical 
public more thoroughly appreciative than our own ; — 
what building in the country compares with our grand 
Academy of Music ? Yet the artists are without 
that organization essential to to their prosperity, the 
public is denied the education it needs, and the Aca- 
demy is used chiefly as a lecture room. 

Tlierc is a grand " Opera House " in our city, but 
the " Academy of Music " is a misnomer. It is 
used for no educational purposes, and is indeed 
closed more than half of the year. Even as a build- 



ing for musical cxliibitions it is neglected ; it is but 
occasionally opened for a concert, or when an opera- 
tic manager thinks lie can make a jirofitable specula- 
tion. It is a pecuniary loss to its stockholders, and 
there is no prospect that it will become what it was 
meant to be, unless new enterprise inspires our 
people. 

Much can be done for the interests of music in this 
country, nnd in Philadelphia the beginning must be 
made. " The talent and opportunity we have, — is it 
possible that the energy is wanting 1 

We suggest that immediate steps he taken to make 
the Academy of Music truly th.at noWe institution 
which its name implies. Our leading musical artists 
should orgnnize an Academy, in which all the higher 
elements of mu.'iic shall be taught by competent Pro- 
fessors. The directors of the Academy of Mnsie 
will no doubt gliidly aid such a movement, by giving 
the use of the building, at a rent so low that loss will 
be prevented, and the terms of admission to the 
clas.ses should be equally liberal. These classes 
should receive instruction in all branches of vocalism 
and instrumentation. 

The results of such an Academy would speedily 
be evident. Musical talent, now obscure, would hi!vo 
expression. The ability now confined to our Church 
choirs, would have fitting opportunity. In one year 
Concerts might be given ; hundreds of voices might 
sing the great masters, as grandly as they are now 
sung in Germany and England. In a few years we 
should have native singers able to sing the best oper- 
as, nnd would no longer depend upon foreign artists 
for the privilege of hearing Don Giovanni or William 
Tell. Great works, never given in this country, 
would then be frequently produced. In time we 
should have our own composers, and our own operas 
would be sung by our artists. The profit of such 
entertainments would in two years more than com- 
pensate the Managers of the Academy for their 
trouble, even if no nobler reward were certain. Is 
there any doubt that Artists would gain higher dignity 
from the profounder appreciation of Art, which such 
an institution would develope in the people 1 

To such an enterprise every newspaper in tho city 
would lend its hearty co-operation ; a Public Meeting 
should be called at once, and the proper steps taken 
to establish what will really be, " An Academy of 
Music." — Fitzgerald's City Item, Philadelphia. 



Music in England. 
Historical Piano-foete Concerts. — The 
London TTmcs continues its notices of HerrPAnER's 
Piano-forte Concerts, as follows : — 

Ilerr Pauer is steadily accomplishing the task 
which, with bonor.alile ambition, he has set himself. 
Already five concerts out of the projected six have 
been held ; and now that they are drawing to a close, 
Willis's music-room is scarcely capacious enough to 
accommodate the amateurs desirous of attending 
them. Probably this unexpected overflow may lead 
to a second scr"ies ; and if so, hy entirely changing 
his programme, Herr Pauer will be able to convey a 
more satisfactory becausea more comprehensive idea 
of his plan. Ho will be able, in addition, to give a 
fairer notion of certain composers, safliciently distin- 
guished in their way, to whom, in an abstract sense, 
the arts of piano-forte playing and of piano-forte 
composition are perhaps even more indebted than to 
the men of original and independent musical genius. 
Beethoven, for example, the chief and centre of these, 
very frequently treated the piano as a slave, fit only 
to obey his despotic will, and to communicate his 
thoughts to the world, whether suited or not to the 
powers of utterance most natural and individualto 
the instrument. The specimen of this composer in- 
troduced by Herr Pauer at his third concert— the 
Thiny-two Variations on an Original Theme {in 
minor)— is certainly indicjitive of" his wayward and 
fitful genius, but hardly calculated to show off to ad- 
vantage the idiosyncratic peculiarities of the " key- 
bo.ard." One of the earlier sonatas (instance Op. 13, 
22, 26, or 28), whore not only the brilliant effects de- 
pending upon the application of a crisp and ready 
touch to an accommodating " action " on the part of 
the instrument (exemplified more or less emphatical- 
ly since the piano-forte first set aside the harpsichord), 
but also the singing power from wdiieh is derived 
what musicians term •' legato "—a saWent character- 
istic of the modern pinno,' and the principal source of 
grace and variety of expression— are equally brought 
into request, would, we think, have better served the 
purpose. To combine freedom of action with full, 
and what may he designated "plastic " tone, in tho 
greatest possible perfection, is now the first aim of 
the most eminent manufacturers, who would willing- 
ly have their instruments yield with uniform com- 
placency to the spreading " arpeggio " of Thalberg, 



BOSTON, SATUKDAY, APEIL 5, 18 6 2. 



the elaborate counterpoint of J. S. Bacli, the fluent 
melody of Mozart, tlie deep ami expressive harmony 
of Beethoven, anfl the supple " scherzo " of Mendels- 
sohn. Much has been obtained, if somethinji; still be 
wanting. Could Handel and Bach hear their "Suites" 
on a piano-forte of the present day, they would un- 
questionably feel astonished ; but that they would, 
without a moment's hesitation, set aside, thenceforth 
and for ever, the harpsichord, in favor of its richer 
and more ductile successor, scarcely admits of a 
doubt. In his specimen of Dussek (at the fourth 
concert) Herr Pauer wa.s decidedly happy. The 
sonata in F minor (Op. 77) not merely exhibits all 
the peculiarities of that remarkable composer, in his 
full maturity {L' Invocation was his last important 
work), but serves to display the various capabilities 
of the piano-forte, upon which Dussek was the most 
eminent performer of his day, to perfection. So with 
dementi's sonata in T> (which has been compared 
with Beethoven's Sonata Pastorale in the same key) 
— a vigorous example of his manner ; and tlie Presto 
Scherzando in P sharp, one of the most imaginative 
of the numerous family of Mendelssohn's " scherzi" 
— introduced respectively at the second and fourth 
concerts. In almost every instance the earlier speci- 
mens pi-esented by Herr i?auer, every school includ- 
ed, have been fortunate. The sonatas of Galuppi 
and Paradisi (at the second concert) merit especial 
notice. Such music, although emanating from com- 
posers of the second rank, is assuredly worth re- 
vival. 

At the fifth concert (on Saturday), Herr Pauer 
gave some interesting examples of the English 
school. John Bull, Orlando Gibbons, and Purcell 
may be passed over — inasmuch as, though their 
names look very tempting in a programme, they 
really had, substantially, nothing to do with the mat- 
ter which the eager and well-informed German pian- 
ist has under consideration. If not one of the three 
had existed the piano forte would have been, at this 
precise epoch, exactly where it stands. Dr. Arne, 
too — while his sonata in G major is not without in- 
terest, as emanating from the composer of " Where 
the bee sucks," the music of Midas, and, last not 
least, our incomparable " Rule Britannia," might be 
dispensed with unceremoniously, as having exercised 
little or no influence on the progress of the piano- 
forte, theoretically or practically. Handel, whose 
delicious "suite " in F sharp mmor, with its masterly 
fugue, must always be heard with pleasure; John 
Christian Bach, the least worthy of the "Bach" fam- 
ily, whose almost puerile sonata in D might, without 
loss, be condemned to the ninsician's itide^ expurga- 
torms ; and Woelfi, the excerpt from whose sonata, 
entitled (Woelfl only knew why) Le Diahle a Quaire 
— a rather poor specimen, by the way, of the com- 
poser who wrote the magnificent sonata in C minor, 
to say nothing of the brilliant Ne Plus Ultra ; being 
all Germans, were more or less out of place in a pro- 
gramme which might, and indeed should, have been 
exclusively English. The "modern" examples — 
with one exception (Mr. Litollf's very meagre paro- 
dy of the Thalbergian pattern, in the shape of a 
Spinnlied) — were remarkably felicitous. These com- 
prised a saltarello by Mr. Charles Salaraan, full of 
life and vivacity, an andante, entitled La Placidity, 
by Mr. Cipriani Potter (the honored patriarch of our 
English classical school, and the educator of some of 
our foremost players and composers) — a composition 
no less elegant than mastei'ly ; the Barcarole from 
Professor Sterndale Bennett's Fourth Concerto (in 
F minor), to praise which — all Europe having ac- 
knowledged its merit — would be superfluous ; and an 
allegro schei-zando, not inaptly, its extreme grace and 
beauty taken into consideration, entitled "Ariel " — 
by Mr. Lindsey Sloper. Each and all of these (al- 
though Professor Bennett's Barcarole was taken de- 
cidedly too fAst) were rendered by Herr Pauer con 
amore — a well-timed compliment to the country which 
he has for so many years adopted as his own ; each 
and all were appreciated and applauded with the ut- 
most warmth by the audience ; and to one of them — 
the Barcarole of Professor Bennett, was extended the 
especial distinction of a loud and unanimous "en- 
core " — to which the player as a matter of course re- 
sponded. 

Monday Popui^ar Concerts. — At the concert 
on Monday night (the 77th) Herr Joseph Joachim 
made his first appearance since 18.59. When the 
Monday Popular Concerts were originated (in the 
spring of that year) the quartet playing of this dis- 
tinguished violinist was a never-failing attraction. If 
at that time it was pronounced, and .justly so, "un- 
rivalled," it is difficult to find terms for it now. Herr 
Joachim is one of those earnest and conscientious 
artists who, uniting enthusiasm with the severest 
judgment, never know what it is to stand still, but, 
aiming at an ideal standard, are continually ap]iroach- 
ing nearer and nearer to perfection. That ho is be- 



yond comparison, in every sense, the most admirable 
performer on his instrument to whom that country 
has given birth, which reckons the greatest of great 
masters among her children, must be unanimously 
admitted. A musical prodigy as a boy, — which those 
in England who heard him play Beethoven's violin 
concerto at the Philharmonic Concerts when only 
thirteen years of age (in 1844) can attest, — he has 
made Fuch excellent use of his natural gifts, has 
looked at his art from a point of view so serious, and 
with so fixed a conviction that it is a thing to be re- 
vered, and never for any considcrntion to be trifled 
with, that now, as a man, thouirh still young, he holds 
by general consent, the very higliest place his ambi- 
tion could, under any circumstances, have urged him 
to covet. Comparisons may be instituted between 
other eminent artists, one excelling in this, one in 
that particular ; but Herr Joachim stands apart from 
the rest, and the advocates, however warm, of his 
contemporaries would never for an instant think of 
questioning his supremacy. A thorough proficient 
in every style, it is, however, as an interpreter of 
Beethoven that he especially excels — indeed, sets 
competition at defiance. Nobody in our time has 
played Beethoven's music like him ; and as the two 
great schools of Paganini and Spohr — the character- 
istics of which, though the antipodes of each other, 
are happily and advantageously combined in modern 
art — have created a class of players equal to the 
achievement of what before these schools existed 
would have been deemed impracticable, it is more 
than probable that no one at any period has express- 
ed Beethoven's thoughts with such irreproachable 
mastery and skill. That he should, therefore, come 
forward, after three years' absence, with one of the 
quartets of "the immeasurably rich musician," was 
natural and to be expected. To his honor, also he 
it said, Herr Joachim accepted for the occasion one 
of those later compositions which, owing to their pro- 
found and recondite character, are, even in the pre- 
sent day, least understood, and in consequence, by 
the majority, least appreciated — the fifteenth quartet 
(Op. 132), in C sharp minor. He must, at the same 
time, have had no little confidence, German as he is, 
in the English public before whom he was about to 
appear, and to whose gratification he was about to 
administer. He possibly remembered that this much 
under-estimated public had invariably appreciated his 
own talent, and that, years gone by, even the violin 
fugues of John Sebastian Bach, under his surprising- 
ly dexterous manipulation, had created an impression 
not easily forgotten. Whatever the influence, how- 
ever, his performance last night surpassed everything 
we have listened to in the shape of quartet playing at 
the Monday Popular Concerts or elsewhere. It was 
intellectual, vigorous, subtle, brilliant, graceful, and 
instinct with varied and poetical expression. Even 
the grave fugue with which the quartet begins seemed 
tuneful and capable of ths warmest sentiment. The 
deliciously melodious and playful allegro that follows 
was of course at once appreciated ; the andante, per- 
haps the noblest^cample in music of the variation 
form, long and eBBorate as it is, and so entirely orig- 
inal as to resemble in no single instance any preced- 
ing model, was heard from end to end with breathless 
interest ; the presto, a movement in the " scherzo " 
fashion, capricious, wild, and wayward, yet sparkling 
and piquant — such, indeed, as one composer only 
could have imagined, more and more moved the au- 
dience ; while the ,finale — ushered in so mysteriously 
by the short adagio, every note of which breathes the 
spirit of Beethoven — was given throughout with the 
fire and impetuosity indispensable to its appropriate 
and effective rendering, and roused every hearer to 
enthusiasm. The applause at the termination of the 
quartet was so unanimous, hearty, and prolonged 
that Herr Joachim and his associates were compelled 
to return to the orchestra. The truth is, that the au- 
dience would willingly have listened to the last and 
most energetic movement of this very abstruse and 
very wonderful work again, but that the length of 
the programme rendered it impossible. No praise 
can be too high for Herr L. Pies, Mr. H. Webb, and 
Signer Piatti (never more emphatically the "Empe- 
ror" ofhis instrument), who, as second violin, viola, 
and violoncello, took part with Herr Joachim in this 
singularly fine performance — a performance which 
made as clear as daylight what has been persistently 
set down as rugged and obscure, and which, in short, 
did honor to Beethoven. 

After such a quartet, by the side of which no work 
of similar character could stand a chance, the solo 
piano-forte sonata of the evening (Woelfl's Ne Plus 
Ultra — repeated in consequence of its remarkable 
success at the previous concert) came in as a charm- 
ing and grateful relief. Miss Arabella Goddard, who 
played it oven better than before, was frequently in- 
terrupted by applause in the course of her pcrfoi-m- 
ance, and at the conclusion of the "Variations," which 



created an extraordinary sensation, was enthusiastic- 
ally summoned forward. The same success awaited 
Dussek's brilliant and spirited Sonata in B flat for 
piano-forte and violin — one of the most interesting 
"revivals" at the Monday Popular Concerts. The 
final Rondo (which alone would stamp its composer 
a musician not less genial than gifted) as usual raised 
a "furore," and both performers (Miss Goddard and 
Herr Joachim) were unanimously recalled. The last 
instrumental piece — Hummel's trio in E flat, Op. 9.3, 
for piano-forte, violin, and violoncello (Miss God- 
dard, Herr Joachim, and Signer Piatti) — was no less 
favorably received than the one in E which Mr. HalM 
introduced with such genuine success some weeks 
since. Hummel's music is liked better and better at 
St. James's Hall; and nothing could be found to wind 
up a concert more cheerfully and pleasantly than one 
of his admiably written pieces. 

The vocalist was Miss Poole, an expressive ballad 
singer, as all the world knows, whose pure and un- 
affected style was agreeably manifested in a new song 
by Mr. Vincent AVallace ("The Lady's Wish"), and 
a setting (by J. W. DavLson) of the beautiful verses 
of Keats, beginning "In a drear-nighted December." 
Mr. Benedict was, as usual, the accompanist. 

At the next concert Herr Joachim is to lead Beeth- 
oven's 11th quartet (in F minor), and play, with Mr. 
Halle', one of the same composer's sonatas for piano- 
forte and violin. — Mus. World. 

Manchester, England. — The Guardian sums 
up Mr. Chakles Halle's concerts, which have 
come to a successful close with Mendelssohn's <S(. 
Paid, as follows : 

Beginning with the orchestral performances, and 
these, notwithstanding the excellency of the vocal 
element, have, along with the pianoforte performan- 
ces, constituted the real strength of the concerts, nine 
grand symphonies have been performed, viz : Beet- 
hoven's Pa.s;ora/(twice),the C minor and the eighth ; 
Mozart's in C major, G minor, and E flat ; Mendels- 
sohn's Scotch and Italian, and Haydn's Surprise, in 
addition to several selections from symphonies which 
need not be enumerated. Then a large collection of 
overtures, comprising twelve that may be termed 
classical, viz : Der Freischiitz, Guillaume Tell (twice), 
Euryanthe, Oheron (twice), Leonora, liuij Bias, Die 
Zaiilejjiote, Jessonda, Anaa-eon, Figaro, La Chasse 
du jeune Henri, and Les Ahenccrrages; six of the 
modern Italian, viz.: Semiramide, Objmpia (twice), 
II Barhiei, Otello, Siege of Corinth, and Femaud 
Cortes; eight French,' viz.: /'"ro Diavolo (twice), 
Zanetta (twice). The Si/ren, Le Domino Noir, Zampa 
(twice), Le Lac des Fees, Le Dieu et la Baj/adere and 
Masaniello ; to which must be added Tannhduser, 
which must be classed by itself. In addition to these 
Mendelssohn's beautiful music to A- Midsummer 
Night's Dream has been introduced, and many smal- 
ler orchestral arrangements that need not be enum- 
erated. The following in.strumental concerted pieces 
may be mentioned :— Beethoven's quintet for piano 
and wind instruments, Mozart's Ottetlo for wind in- 
struments alone, and a selection from Hummel's 
Septet. The pianofoite performances of Mr. HalM 
have been numerous and of a high character viz., 
Weber's Concertstiich, Mendelssohn's Concerto in G 
minor, Beethoven's in E flat and C minor, also his 
Choral Fantasia, Mozart's sonata for two pianos 
(twice) and one for piano and violin. Besides these, 
numerous small pianoforte solos have been introduc- 
ed, drawn from the works of Mendelssohn, Schubert, 
Weber, Chopin, Heller, Thalberg, Liszt, Bach and 
Scarlatti. 'The other instrumental soloists have 
been M. Lavigne (oboe), Lazarus (clarinet), Piatti 
(violoncello), Blagrove (violin),Vieuxtemps (violin), 
De Jong (flute). Miss Arabella Goddard (piano), 
Otto Goldschmidt (piano), and Herr Heller (piano). 
Coming to the vocal element of the concert, thiee 
complete oratorios have been given, viz : — Judas 
Maccabanis, The 3Jessiah, and Si. Paul, in addition 
to one miscellaneous choral concert, and one intro- 
ducing Mr. Henry Leslie's celebrated choir. Gluck's 
opera with full chorus has been twice recited, and 
Weber's Der Freischiitz once, and for these, and for 
the concerts generally, the very best vocal artists of 
the day have been engaged, as the following names 
show, 'viz.,— Mad. Lind Goldschmidt, Mile. Parepa, 
Mad. Sherrington, Mile. Titiens, Mad. Rndersdorft', 
Mad. Sainton-Dolbv, Mrs. Sunderland, Mad. Guer- 
raholla. Miss Armstrong, Mile. Cosselli. Mile. Agnes 
Bury, Miss Palmer, Miss Banks, Mr. Sims Reeves, 
Signor Belletti, Mr. Wilbye Cooper, Mr. Weiss, Mr. 
Montom Smith, Mr. Irving, and Mr. Thomas. 

Her Ma.testy's Ttie.vtre will open on the 2C)th 
of April, under the management of Mr. J. II. 
Mapleson. Arrangements have been made u|i to the 
present moment with Mile. Titiens, Signers Giuglini, 
Vialetti, Graziani, Ciaiupi, M. Gassier, Mile. Kcllog, 



DWIGHT'S JOURNAL OF MUSIC 



Mile. Trcbclli, &c. The names of the first six 
artists speak for themselves. Mile. Kellog comes 
from America, — of her anteceilents we know nothinir. 
We are told she is extremely handsome, talented and 
nineteen. She is reported to be a singer of the Patti 
class. If she can only approximate in talent and 
accomplishments to that popular and delightful artist, 
the subscrihers and the pnlilic will have no reason to 
be dissatisfied. Mile. Trebelli has a high continental 
reputation as a contralto singer. It has been whis- 
pered to us — so delicately indeed that we are scarcely 
authorised in giving it breath — that Mr. Sims Keeves 
has been offered an engairement, with the view of his 
appearing in Oberon with Mile. Tlticns and Signor 
Giuglini, our great tenor, as a matter of course, 
taking the part of Sir Iluon. — Musical World. 



Philharmonic Society. — The first concert of 
the 5uth (the "Jubilee ") season took place on Mon- 
day evening, in the Hanover Square Rooms. The 
attendance was crowded and brilliant. The s^'mpho- 
ny (only one on this occasion) was Beethoven's 
Eroica. The overtures were Weber's Jubilee, Schu- 
mann's Genovrva, and Cherubini's Faniska. Herr 
Joachim played Viotti's concerto in A minor, and a 
Saraba7ide and bonrree (with "doubles") of J. S. 
Bach. Mile. Guerabella and Miss Lascelles were 
the singers Profes.sor Sterndaie Bennett conducted. 
The band was admirable. 



MusicAi. Society or London. — The first con' 
cert of this young and already ilUntrious society was 
held on Wednesday evening in St. James's Hall, 
which was thronged to the door. The symphony 
was Mendelssohn's in A mnjor (the " Italian "); the 
concerto (violin) Hcrr Joachim's in D minor, " in 
the Hungarian manner," the composer himself being 
also the performer. The overtures were Mozai-t's 
Vie Zauberflote, Beethoven's Leonora (No. 1), and 
Berlioz's Carnival Romain. Mad. Sainton-Dolby 
and Mile. Guerabella were the singers. Mr. Alfred 
Mellon conducted. The concert was altogether mag- 
nificent. 



W\^\U lonrnal of ffiusk. 



BOSTON, APRIL 5, 1869. 

Music in tuis Nd.muee. — Continuation of Handel's 
Messiah. 



Concerts. 
Philharmonic. — The seconrl concert of the 
new series attracted an audience of about nine 
hundred people ; by no means so large as so rich 
an entertainment deserved, or as such concerts 
need to enable them to go on. We should be 
glad to be able to believe that the absence of a 
regular Symphony in the programme would ac- 
count for the falling oif ; but there was no lack 
of sterling and most interresting matter : 

1. Les Preludes : A Symphonic Poem F. Liszt 

2. ''Di Tanti Palpiti- — Erom "Tancredi." Rossini 

Miss Washburn. 

3. Concerto for the 'Violin Beethoven 

Herr Mollenhauer. 

4. Overture to Byron's " Manfred," R. Schumann 

5. '' Mio Fernando," from "Favorita" Donizetti 

[With the Allegretto by Bottesini.] 
Mi.ss Washburn. 

6. Marcia Fuuebre — Arranged for the Orchestra. . .Chopin 

7. Dreamy sound.s of Wigwam Life — A characteristic Fan- 
tasie for tho violin, composed and performed by 

Herr Mollenhauer. 

8. Overture, ''Leonora," (No, 3) Beethoven 

Liszt's " Preludes" was first brought out here 
by Mr. Zerrahn in December 1859; the im- 
pression which it then produced on us, and on 
musical persons generally, we think, was record- 
ed in terms which we venture to recall now ; 
since they serve precisely to describe the new 
Impression of last Saturday evening : 

Liszt has now written, it is said, his nine — not 
Symphonies, but " Symphonic Poems" — so called 



(and in this sense pertaining to the Wagner or "Music 
of the Future " direction) because they have not arr 
exclasivcly and purely musical reference, and do not 
therefore cling to the usual symphonic form, but take 
their texts from and propose to illustrate some poem, 
or passage from a poem, or some poet's life, or some 
picture, or what not. Among tlic titles and the sub- 
jects, which he has thus treated, we have seen named : 
"Orpheus"; " Tasso " ; "The Ideals," of Schiller; 
" Vest-Klancje " \ "Faust"; Kaulbach's painting, 
" The Battle of the Huns " ; " Dante " (if wc 
remember rightly), ar.d these "Preludes," designed 
as a tone-translation and expansion of the following 
passage in Laraartine's Meditations Poetiques : 

" What is our life but a series of Preludes to that 
unknown song whose initial solemn note is tolled by 
Death? The enchanted dawn of every life is love ; 
but where is the destiny on whose first delicious joys 
some storm breaks uot — some storm whose deadly 
blast disperses youth's illusions, whose fatal holt con- 
sumes its altar ! And what soul thus cruelly bruised, 
when the tempest rolls away, seeks not to rest its 
memories in the pleasant calm of rural life? Yet 
man allows himself not long to taste the kindly quiet 
which first attracted him to nature's lap ; but when 
the trumpet the signal gives,he runs to danger's post, 
whatever be the fight which calls him to its lists ; that 
in the strife he may once more regain full knowledge 
of himself and all his strength." 

These themss came up one by one in a moving 
panorama, as it were, of tone-pictures, painted on a 
great breadth of orchestral canvass, with a richer 
scale than usual of colors ; thus there were three 
flutes; four horns; a huge ophicleid, thundering 
throngh the other storm of brass ; and a harp part. 
You heard first the tolling, and mysterious solemn 
harmonies, vague yearning questionings, &c., as at 
thought of the great hereafter; here were some 
strange and large effects, more physically imposing 
than beautiful sometimes. Next, a really lovely piece 
of rich, soft, subdued harmony, from the heart tones 
of violas, 'cellos, &e., which we suppose stood for the 
" dawn of love." Then the storm, which might 
have satisfied our friend Fry, who thinks Beethoven 
failed to raise much of a storm ; there was a wild, 
shrill, chill rushing of the whole mass of strings up 
and down chromatic scales, which was certainly a 
palpable enough suggestion of the whistling of the 
wind : — a startling effect, although we can imagine it 
a rather cheap one. The pastoral music of " rural 
life," in cheerful six-eight measure, drew its tones 
happily and skilfully from the wai4(Sst instruments, 
as horns and clarinets, and was indeed quite charm- 
ing. Finally the march-like finale had a breadth and 
energy of on-sweep, and a bold, unsparing wealth of 
instrumentation, which sounded for all the world like 
Wagner. The real merit of the work appeared to us 
to lie in the remarkable talent shown for instrumen- 
tation. It is full of striking, original, sometimes 
exquisite effects : there were chord-phrases and blend- 
ings of instruments in it which almost opened a new 
sense. But these seem rather the accumulations of 
separate efforts, than the spontaneous, and at the 
same time logically necessitated outgrowth from one 
central and all-vitalizing thought, as in the real imag- 
inative works of genius. It has a certain outward 
and well managed unity, we own ; but not that sort 
of unity which great works of Art have, where the 
whole is implied and felt in each successive part, or 
rather each unfolding phase. A more instructive 
contrast between these two modes of production 
could not well be offered, than we had that night in 
Liszt's " Symphonic Poem," and Beethoven's less 
pretending, but most imaginative and genial eight 
Symphony. The latter music haunts you, mingles 
with your life, your love, forever after you have heard 
it : will the former ? 

The Preludes were quite well rendered this 
time, and generally well enjoyed ; although the 
work would seem to have more interest to 
the musician for its curious and often happy 



effects in instrumentation, than to the common 
listener wlio seeks edification in the poetry and 
genius ot the thing. It hardly makes good the 
place of a Symphony by a great master. But 
tlien the Concerto and the two noble overtures 
were no mean compensation. 

Of the Leonore overture, which is now an es- 
tablished favorite, and deservedly as being one of 
the grandest and most beautiful of all overtures, 
nothing need be said, except that it was quite 
well rendered, (even the great crescendo of vio- 
lins being eflfective for so small a number of them), 
and that it left a good impression for the last one 
of the concert ; it was putting the best last. — 
Schumann's "Manfred" Overture is a work which 
grows upon us. When first presented here, some 
four or five years since, it was not clear to us, 
not so positive and striking in its effects as Wag- 
ner's " Faust," to which it is allied in subject. 
Perhaps the want of clearness then was in the 
execution, which again left much to be desired in 
that respect last Saturday. Meanwhile repeated 
hearing of it in Berlin and Leipzig, once in con- 
nection with the entire "Manfred" music, had 
made us aware of its uncommon depth, signifi- 
cance and beauty ; and beautiful and powerful 
it was to us again on Saturday, although some 
important phrases in the middle and lower parts 
of the crowded score were not always distinctly 
audible. It is far more purely musical than 
Wagner's overture ; its inspiration is from within, 
and all develops naturally. Over the dark ab- 
byss of discontent and conscious doom which it 
portrays, there pass heavenly rainbow passages 
of love and tenderness — some of the finest bits of 
harmony we know. And the growth and climax 
of the whole, and the way in which the passion- 
ate, proud life burns out gently at the end, form 
a whole of admirable proportion and unity. Let 
this overture be played often enough, and we are 
sure it will become one of the cherished treasures 
of the music-lover. On another page will be 
found some reflexions on it by a German critic. 
The Allegretto from the 8th Symphony of Beet- 
hoven wae played, instead of the arrangement 
of Chopin's funeral march. 

Beethoven's Violin Concerto is almost a Sym- 
phony in itself; but it requires more than con- 
summate skill and grace of execution, it requires 
a certain manlj sort of inspiration, a certain deep 
fire and strong magnetism in the player, to make 
its power felt. Mr. Mollenhauer executed it 
with wonderful fineness, with most finished ele- 
gance ; but he has not the large heroic tone ; his 
tone is somewhat thin ; a rare external gloss and 
polish on it, which does not go straight to the 
heart; while we admire, it leaves us cold. And 
so many found the Concerto very long, in spite of 
its originality and beauty, which no one could do 
who should hear Joachim, for instance, play it. 
Mr. MoUenhauer's codenzas, one in each of the 
three movements, were very long, as well as very 
curiously contrived and marvellously executed. 
We are only accounting for the apparent dullness 
of the general audience to the Concerto ; for 
ourselves we are always thankful to hear so fine 
a work so ably rendered as it was. Mr. MoUen- 
hauer's " AVigwam " Fantasia was ingenious and 
pretty in the main ; with some very euphonious 
orchestration, and some droll imitations, making 
his fiddle pipe and whistle, and so forth ; but 
this is too much like child's play to find place in 
a Philharmonic concert. 



BOSTON, SATURDAY, APRIL 5, 18 6 2. 



Miss Washburn, with her superbly larfie and 
rich mezzo-soprano tones, made a very good im- 
pression in her two pieces. Impassive as she 
looks, there was no lack of feeling and expres- 
sion in her song ; and she has acquired consider- 
able execution, although there is much room yet 
for schooling. 

It was on the whole a very interesting concert ; 
and we only regret that more people were not 
there to profit by it, and to supply fresh encour- 
agement to Mr. Zerrahn's zealous efforts to keep 
the sound of grand orchestral music within hear- 
ing, when we need it. 



"Gade's "Comala." — This beautiful Cantata 
was sung at Chickering's Hall on Monday even- 
ing, before an invited audience, by a Club of 
Amateurs, consisting of about thirty ladies and 
gentlemen, who have been practising this and 
other interesting musie new to Boston, such as 
Mendelssohn's " Walpurgis Night," during the 
winter. A more select, fresh, musical and telling 
set of voices of that number could hardly be got 
together ; and under Mr. Parker's excellent dril- 
ling they sing with fine precision, unity and 
spirit. 

The concert opened with " The Flight into 
-'^r.^'P^" a Bible Legend, by Berlioz, a piece of 
quiet.pastoral simplicity, almost as severely sim- 
ple as the imitations of very early Pre-Raphael 
puintings. We wondered to find Berlioz, wielder 
of monster orchestras, capable of such abstinence. 
It consists of an overture, played on the piano 
by Messrs. Parker and Lang, which has a very 
innocent and pastoral expression, and which we 
found not uninteresting, although long for its 
small amount of material ; of a chorus of shep- 
herds at the departure of the holy family, which 
is sweet and natural; a tenor solo (Repose of the 
holy family),ending with a short chorus of angels : 
HaUelujak, sung by the boys of the Church of 
the Advent in an adjoining room. The whole 
thing was enjoyable, and certainly curious. 

The " Hear ye Israel," from Elijah, was sung 
with much spirit by a fresh and telling young 
soprano, followed hj' the inspiring chorus : " Be 
not afraid." Then a couple of beautiful four- 
part songs : " (iood Night," by Schumann, and 
''Love in Spring-time" by Hauptmann, were 
sung to a charm ; the latter had to be repeated- 

" Comala " takes its subject from Ossian ' 
Gade's genius has afhnity with the wild, sad, 
shadowy grandeur, and the rich monotony of 
that poetry, which is among the best of all for 
musical composition. The theme he has selected 
is the following : 

Comala, the daughter of Sarno, king of Innis- 
tore, so says trailition, entertained a violent pas- 
sion for Fingal, king of Morven. Fingal returned 
her love ; and Comala, clad as a warrior, followed 
him in an expedition against Caracul, king of 
Lochlin. On the day of the battle, on the shores of 
the Carun, Fingal leaves her on a height whence 
she can overlook the fight, and promises if victo- 
rious to return at evening. Comala, full of anx- 
ious foreboding, awaits Fingal's return. Amid 
the howling of the storm, the spirits of the 
fathers appear to her, as they move toward the 
battle-field to conduct to their home the souls of 
the fallen ; she imagines the battle lost, and Fin- 
gal slain. Overcome with grief, Comala dies. — 
Finaal returns victorious, with songs of triumph, 
and learns from her weeping maidens the death 
of his beloved ; lamenting, he bids the Bards 
praise her in song, and with her attendants to 
waft her departing soul with hymns to the abodes 
of the fathers. 



Here is poetic material enough for a grand 
composition. Choruses of bards and warriois, 
choruses of virgins, parting duetbetween Comala 
and Fingal, chorus of spirits of the slain rising 
from the battle-field ; songs, ballads &c., by 
Comala and her maids ; the triumphal return and 
the despair of Fingal , and finally the grand 
chorus in which bards and virgins waft Comala's 
soul "to the fathers' dwelling," — all are full of 
beauty and of pathos, and some parts exceeding- 
ly impressive and grand. It is a wild, rich, deep- 
liued music like the sea, such as every listener 
would like much to hear so finely sung again. 
There is a charm about such a musical enjoy- 
ment, which is scarcely to be found in public 
concerts. 



Italian Opeka. — Jlr. Grau's Company have 
returned to us, and opened at die Boston Theatre 
("Academy ") on Monday. We were not able to be 
present that night, to hear Lucia, which was perform- 
ed to a rather small audience, with Miss Kellogg 
in the principal part. 

On Tuesday evening Kossini's "Barber of Seville" 
attracted quite a good house. The charm of the 
music is infallilile. The orchestra sounded thin, and 
lacked the fresh, bright, sensuous color with which 
every phrase and tone of th.it delicious music ought 
to speak to us ; this might be partly owing to the 
place in which we sat. Upon the stage the perform- 
ance had not a few fine points, but as a whole lacked 
life and inspu'ation ; they did not seem to fro into it 
so cnn nmore as the artists sometimes do. Mme. D'- 
Angri .almost destroyed the identity of Una voce 
■pom fm, hy leaving scarcely a phrase unaltered by way 
of embellishment. Of course she executed the music 
ofRosina jreneraliy with rare ease and flnency and 
grace ; but rich and warm as her tones are, it needs 
the charm of freshness to make Rosina speak to us. 
Her finest sinjjing was in the two introduced pieces ; 
the " Elena waltz " for the musie lesson, and Non 
pill mesia for the finale. Sig. Brignoli is no Mario 
in the exquisite and florid melody of Almaviva. 
Passajjes were sunjr beautifully, suitinp; the best tones 
of his line tenor voice; odier passafjes, almost in the 
same breath, were nasal, lifeless and uninteresting:. 
His acting was as if he had no will or motive. Su- 
siNi made a C8,ai||l Br. Bartolo, always true to the 
requirements of action, .and using his grand bass 
voice like an artist. Sig. Bartli was an acceptable 
Don Basilio, overacting not quite so much as most 
do. The part of Figaro, the life and soul of all the 
fun, was sadly far from being filled out, Sig. Mancusi 
having neither voice nor presence for it ; yet he made 
up for it in many instances by very animated endea- 
vor. 

lilasaiiiello was announced for Wednesday, ]\lnrllui 
for Thursday evening ; but the occurrence of Fast 
Day this week compels us to go to press too early to 
speak of them. 



To the regret of hosts of music lovers, Mr. Carl 
Zbrraun, finding that his new series of Philharmon- 
ic Concerts thus far has entailed serious loss upon 
him, feels obliged to suspend them. He will give, 
however, one grand Benefit Concert this evening, 
when it is to be hoped that the musical public will 
rush en'masse to the rescue, and encourage his going 
on, or at all events make good to him his loss. Miss 
Lizzie D. Chapman, one of our own singers, fresh 
from her studies in Florence, will make her debut 
before her towns-people ; and there will naturally he 
much desire to hear a new soprano of acknowledged 
talent. 

For orchestral pieces Liszt's "Preludes" will be re- 
peated ; the Scherzo from the "Scotch" Symphony, 
and the overtures to " Egmont " and the " Merry 



Wives of Windsor," by Nicolai, will be played. 
There will also be a Serenade for four violoncellos, 
by Lachncr. 

The Orchestral Union played on Wednesday 
Afternoon the charming E flat Symphony by Mozart, 
Kreutzer's Overture : "A night at Granada," Schu- 
bert's "Elogy of Tears," ic, to a good house, but 
not crowded. Next Wednesday they will give us 
Jlendelssohn's 4th Symphony; Auher's overture to 
Gustave; a horn solo by Mr. Hamann, a waltz, &c. 

Uliistt SbruaK 

Germany. 

Leipzig. — In the 17tli Gewandhaus concert anew 
concert overture by Ferdinand Hiller was performed. 
The second part of the 18di concert was devoted to 
the Berlin Kapellmeister Taubcrt's music to Shak- 
speare's "Tempest ;" overture, eutr' actes, choruses, 
solos, with an explanatory text by Herr Eggers. It 
is said to be a remarkalde composition ; and at the 
end of the concert Herr Taubert was covered with 
prolonged applause. 

Stdttoart. — Great activity has reigned here at 
the Royal Opera, since Carl Eckert has become di- 
rector. The repertoire has been varied ; Mozart's 
Titus, Benedict's " Old man of the mountain," Au- 
ber's Mucon, Gounod's Faust, and Verdi's ".Masked 
Ball," have been represented. 

Vienna, March 11. — The repertoire of the Court 
Opera for this week is composed of Die Zaiiherflote, 
Norma, the Propliete and L' Etolle du Nord. — At a 
smaller theatre Offenbach has been directing the per- 
formance of two of his operettas : Le Mart a la 
porte, and La Chanson de Fortunio. Thegav Viennese 
receive him warmly. — The Philharmonic Society has 
produced Schumann's "Paradise and the Peri ;'' and 
at the Sing-akademie the same composer's "Pilgrim- 
age of the Rose" has been twice given. The Quar- 
tet soirees of Hellmesberger and a.ssociatcs have 
been enriched by two unpublislied works of Schubert, 
a quintet and an octet. In the second bistorica] 
soire'e of Chamber music, under the direction of Ilerr 
Zellner, fragments of an unpublished Quintet by 
Beethoven, for oboe, three horns and bassoon, \\ere 
played. 

Cologne. — The eighth Gescllschafts Concert, un- 
der the direction of Herr Ferrtinand Hiller, took place 
on the 25th nit , when tlie following was the pro- 
gramme : 

Part I. — 1 . Symphony in D major, Haydn ; 2. 
Elegischer Gesong, for chorus and stringcil quartet, 
Beethoven ; .3. Violin Concerto in the Hungarian 
manner, composed and played bv Herr J. JoMchim. 

Part TI.— 4 Cantata, .1.' S. Bacli, "Gotts Zeit ist 
die allerliebste Zeit ;" 5. AiIaLin, for violin, Spohr; 
"Abeudlied," Schumann, arranged for violin and 
orchestra, by J. Joachim ; 6. Overture to Der Freij- 
scliiilz, von Weber. 

The Committee of the Gr.and Musical Festival of 
the Lower Rhine, which will take place on Whitsun 
week, at Cologne, have selected for pei formance tiie 
following works : — 

On the first day; Handel's oratorio of Solomon, 
accordinq to ihc oritjinal score, and wiih the organ ac- 
companiment written by Mendelssohn, for the per- 
formance in 1S.'J5, wiiich was also Iield in Colr)gne. 

On the soconii rlay Overture and Scenes from 
GInck's Ipliii]('niit in Aulis : " Sanctns" and "llosan- 
na," from Jolm Sebastian Bach's Mass in B minor; 
Beethoi en's Ninth Syinphnny with Chorus. 

On the third day : Symplionyby Haydn ; "Hymne 
an ilie Nacht," for solos, chorus and Orchestra, by 
Ferdir.and Miller ; Mendelssohn's overture to Rui/ 
B/as. Several vocal pieces. 

The solo parts will be sustained bv Mad. Louise 
Dustmann-Meyer, from Vienna (sopr.'ino) ; Mile. 
Fi'aucisca Si'hreck, from Bonn frontra'to) ; Herr 
Schnorr von Karolsfehl, from Dresden (tenor) ; and 
Herr Becker from Darmstadt (hass). 



DWIGHT'S JOURNAL OF MUSIC. 



Director of the Festival Performances, Ilerr Fer- 
dinand Hiller. Leaders of the orchestra, Herr J. 
Grunwald, and von Konifjslovv. 

Paris. 

Grand Opeea. — Gounod's new opera, " The 
Queen of Sheba," seems to have been a failure. 
Critics pronounce it dull ; and some say that Gounod 
manifests a leaning of late towards "Wagner, and 
succeeds in imitating his formlessness, without his 
dramatic coloring and poetic feeling. Perhaps it had 
originally some treason in it, some sympathy with 
Wagner, the political, as well as with Wagner the 
musical reformer; for it appears that on its first re- 
hearsal the Minister of State cut out an entire act. 
The plot is thus described : 

As the name indicates, the story was taken from 
that of the Queen of Shcba and Solomon, with some 
slight liberties tal<en with the sacred text. The Queen 
comes to Jerusalem and is there dazzled with the 
splendor of the court of the Jewish King. She ex- 
presses a wish to see the master genius under whose 
eye all these splendors were produced, and whose 
mind planned them all. This genius is Adoniram, 
who seems to be a mysterious sort of a personage, 
and who is not at all pleased with being summoned 
into the presence of the Queen, as he is busily en- 
gaged at the time upon a piece of sculpture. He goes, 
however, and is struck with her beauty. She is 
struck witli his talent, and although Solomon has 
placed the nuptial ring upon her finger, and they are 
to be married in a few days, she manages to have 
private interviews with Adoniram, and at last, after 
the usual Je ivus aiine, she agrees to elope with him. 
The story now becomes rather ridiculous. Some 
workmen of Adoniram, who are on a strike, " blow 
on him" out of revenge, and Solomon summons him 
to his presence, and, charging him with his perfidy, 
banislies him from bis court. He has a hasty inter- 
view with the Queen, and she agrees to follow him. 
After seeing Solomon again, and drugging bis liquor 
and placing him in a profound sleep, during which 
she takes the nuptial ring from her finger and places 
it on his, thus freeing herself from her engagement, 
she takes her departure from the premises and goes 
in search of Adoniram. AVe next see this gay de- 
ceiver in a blasted heath at the foot of Mount Tabor, 
where the vengeance of his infuriated workmen still 
pursue him.and finally one of them kills him by .stab-^ 
bing him to the heart, just as the Queen arrives. — 
.She of cour.ie falls into tears and wrings her hands, 
when the curtain judiciously drops on the heart-rend- 
ing scene. The opera is produced in splendid style, 
and there is some good music in it. It is not of a 
popular character, however, and the libretto is insuf- 
ferably stupid. 

Classical Concerts por the People. — M. 
Pasdelonp's popular experiment, still thrives; and 
the vast space of the Cirque Napoleon, which holds 
four or five thousand people, has every seat occupied 
— men in blouses mingled with the most elegant 
ladies. The prices are very low, and the multitude 
of equipages at the entrance (says a correspondent 
of the Vienna musical journal) has occasioned the 
satirical remark : that the great success of the popu- 
lar concerts only proves, that hii/h society likes music 
at low prices ! A capital idea of the way in which 
the French, and the French alone, appreciate classi- 
cal music, and especially Beethoven's Symphonies, 
may be formed from the following programme which 
M. Pasdeloup attached to the Symphony in A major 
(No. 7) : "1st movement: Arrival of the people of 
the country. 2nd movement: Wedding March (!) 3d 
movement ; Dance of the country people ; bridal pro- 
cession, ith movement : TbcBanquet; the Orgy"(!) 
This programme was actually offered as coming from 
Beethoven himself! 

Conservatoire. — The concerts this season have 
been distinguished by greater variety of programmes. 
More attention has been paid to the works of Cheru- 
bini (whom some of the French writers declare to be 
a man of inferior talent !) The pieces given in the 
first concert were: Cheruhini's Overture to Anac- 
reon ; a chorus from Boieldieu's Phammond ; the 7th 
Symphony of Beethoven ; the chorus of prisoners, 
from Fidelio ; and the overture to Eurijanthe. In the 



second concert : Symphony (No. 25), by Haydn ; an 
Salutaris, by Cherubini ; Beethoven's Piano Con- 
certo in G, played by TlieodoreRitter, with great ap- 
plause ; the first Finale from Eurijanthe (disfigured, 
to be sure with many sorts of ornaments, says the 
German reporter) ; and Overture of Ruy Bias, by 
Mendelssohn. In the third concert: Overture to 
Fidelio (E major) ; Benedictus from Beethoven's 
Missa sokmiis in V> ; the E flat Symphony of Mo- 
zart ("played unsurpassably well") ; fragments from 
Gluck's Iphigenia in Tauris ; and Jubilee Overture 
by Weber. In the fourth concert : Beethoven's 2nd 
Symphony (in D) ; a motet by Bach — not Sebastian 
— which was encored ; a flute solo ; Beethoven's 
" Ruins of Athens;" Overture to Fret/scliutz. 

Rossini. — The same correspondent (Vienna 
Musih Zeitung) adds : 

"They intend soon to repeat JRossini's 'Titans,' 
which is net an oratorio, but only a single piece. He 
composed it originally with only a piano accompani- 
ment, and so we have heard it at his dwelling, with 
several other new and charming vocal pieces. But 
he is chiefly busied just now with piano-forte compo- 
sitions, and he jokingly declares it is whole ambition 
to pass for a pianist. We know perhaps fifty piano 
pieces by him, some among them of great beauty. — 
He calls them Preludes, although they are written in 
rounded Allegro form. Most of them bear droll 
names, and he divides them into : 1 . Album for 
babes in swaddling clothes [album des enfants em- 
mailloMs ; 2. Album for wideawake children (des 
enfants ddgourdis) ; 3. Album for cottages ; 4. Al- 
bum for palaces. In spite of their odd names, they 
will find many admirers during his day in musical 
circles. The Dream and Sleep (prdnde ftigassd) are 
full of feeling ; the Tarantelle, the Pesorgse are rich 
in luxurious melodies. A prdude de I'uvenir (pre- 
lude of the Future) occurs among them. He takes 
care also to keep fresh his old fame as an epicure, 
by naming several pieces which open the collection, 
' hors d'cenvre,' and giving them more special desig- 
nations, sueh as: butter, radish, cucumbers, &c. 
Perhaps he means to intimate that he attaches no 
value to these late fruits ot his labor ; but they are in 
fact full of youthful freshness." 

Mme. Clara Schumann had accepted an invita- 
tion to give concerts at Paris in Erard's Hall, to com- 
mence March 20th. Every plao^Bas taken for four 



There have been several revolutions in the thea- 
tres. The Opera Comique is once more confided to 
the management of Mons. Emile Perrin, the most 
successful manager it ever possessed. He is busy 
forming a company, for the last manager destroyed 
the old company. Faure is at Berlin, Mme. Miolan 
at Brussels.MUe. Lefcbre at London, where they seem 
to receive such excellent pay they are loth to content 
themselves with even double the amount of money 
formerly paid them. Whether Mons. Perrin will be 
as successful as he was is problematical. Composers 
and playwrights seem exhausted and no successors 
appear above the musical horizon. The singers them- 
selves have decayed. Mme. Ugalde is but a vestiffo 
of her former self. Mons. Roger has ruined his 
voice. Mme. Marie Cahel is becoming a little un- 
wieldy for the stage. The taste of the public, too, 
exercises a depressing influence on dramatic art. — 
Nothing is cared for except splendid dresses and de- 
corations ; the accessory has absorbed the principal. 
The provincial theatres complain with great bitter- 
ness of this state of things, for they live upon the 
Paris theatres and when the latter send nothing to 
the provinces except pretexts for the display of bril- 
liant costumes and beautiful scenery, and the jierson- 
al advantages of pretty girls, the provinces starve. 
Their shallow purses cannot command these sights, 
for they require an immense outlay of money and 
must run several nights to bo profitable. A piece in 
the provinces is scarcely ever played twice, and the 
audiences there are tired of old pieces. A great deal 
of pecuniary distress prevails among the provincial 
companies, and many towns have been obliged to go 
without theatrical performances the last season. — 
Corr. Eve. Gazette. 



•petial lUtitts. 



DESCRIPTIVE LIST OF THE 
Publishcfl by Oliver DUf^oii & Co. 



Vocal, with Piano Accompaniment. 

All hail to the stars and stripes. Song and Chorus 

L. 0. Emerson 25 

Founded on an Incident famous in the early history 
of the war. They are the dying words of a young 
Federal volunteer who was mortally wounded in the 
Baltimore Riot. 

Marnquita. Portuguese Love Song, Hon. Mrs. 

Norton 25 

A companion to the popular Spanish Ballad "Juan- 
ita " and just as quaint and pretty. 

The Picket Guard. Quartet for male voices 

W. H. Goodwin 25 

A simple, but extremely well written Quartet, high- 
ly recommended to Glee Clubs. 

Bear them home tenderly. T. H. Howe 25 

Baaed on Gov. Andrew's famous telegram to the 

Mayor of Baltimore after the memorable riot. April 

19th, 1861. Poetry and music are very good and ther« 

can be no doubt but this song will have a large sale. 

I pray thee give rae back my love.. Ballad 

Pietro Centemeri 25 

Written with that fluency of style and richness of 
melody for which this composer is distinguished. 

Instrumental Music. 

Darling Nelly Gray. Transcription. B.Richards 35 

As might be surmised, Mr. Richards makes a very 
pretty piece out of this taking and familiar air, not at 
all difficult. 

Farewell. Nocturne. /. B. Riche 25 

A sentimental melody with elegant embellishments. 



Gungl 25 



Styrian Home Sickness March. 

A very pretty March which used to be one of the 
strongest pieces in the light selections of the old Ger- 
mania Society. 

Pastorelld e Cavngliere. Caprice. L.M.Gottschalk GO 
This is a charming rural scene, full of those delicate 
traits for which all of this author's compositions are 
distinguished. Among the new compositions which 
Gottfichalk has brought out at his recent Soirees in 
New York, this one had the largest share of applause. 
If our amateurs need any encouragement to get a 
copy of this piece they may find it in the assurance 
that it is only moderately difficult. 

Ericsson Galop. V. Tinans 25 

A dashing Galop, easy of execution. The title-page 
is made interesting by a very faithful drawing of the 
little iron-clad monster " Monitor," as she appeared 
when leaving the harbor of New York. 

Books. 



Thalberg's L'art du Chant. 

Singing applied to the piano, 
bound in cloth. 



(The Art of 
Handsomely 

3,00 



The piano cannot render that which is most perfect 
In the beautiful art of singing, namely, the faculty of 
prolonging sounds, but the player may overcome this 
imperfection with address and pkill. How this may 
be done, the great Player has shown in twelve Trans- 
criptions of melodies from the masterworks of great 
composers. The melody is engraved in large notes, 
so as to stand out and be recognized easily. They are 
■ all figured, and are as invaluable to the accomplished 
pianist as to the student, who wonld get at the root 
of the marvellous effects which Thalberg produces In 
his playing. 



Music by Mail. — Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a saving- of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 





oiriial 





Whole No. 523. 



BOSTON, SATURDAY, APRIL 12, 1862. 



Vol. XXI. No. 2. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 2). 

Charncy, August 6, 1831. 
My dear Sisters ! 

You have read the whole of Ritter's Africa, it 
isr true, but yet where Charney lies you do not 
know. So take out for once the old travellinn; 
map by Keller, for you must now be able to ac- 
company me in my wanderings. Go with your 
finger from Vevay to Clarens, and then toward 
the Dent de Jaman, following a stroke. The 
stroke indicates a foot-path ; and where you go 
with your finger, I have come this morning with 
my legs, for it is now only half-past seven o'clock, 
and I have eaten nothing yet. Here I will 
breakfast, and write in a neat wooden room until 
the milk is warm Out there the bright blue 
lake peeps in ; herewith I begin my journal, and 
will continue it, as well as may be, on my foot 
journey. 

After breakfast. Good heavens, imagine the 
malheur ! Just now the landlady tells me, with 
the most mournful face, there is not another man 
in the village, to show me the way over the Dent, 
and carry my bundle, except a young girl ! the 
men are all engaged. So I must set out to-mor- 
row morning alone, with bag and great coat on 
my back, because the guides from the hotels are 
too dear and too tedious for me. After a few 
hours I hire the first honest looking lad, and so 
go on much more comfortably on foot. I will 
not say, bow charming the lake and the way here 
have been. Think of all the beauty you enjoy- 
ed that time. The footpath is always shady, 
under nut trees, winding up the hill, — past coun- 
try houses and chateaux, along the lake, which 
gleams through the foliage ; everywhere villages ; 
in the villages a strong rushing sound of springs 
and fountains in all corners; then the pretty 
houses — it is really too beautiful, and makes one 
feel too free and well ' Then comes the girl 
with her bottle-shaped hat; she is extremely 
pretty too, and is named Pauline. Now she takes 
my things into her grape basket ; and so we will 
go on up the mountain. A dies ! 

Evening in the Chateau d'Oex, by candle- 
light. 

I have made the most charming journey. — 
What would I not give to procure you such a 
day ! But you would first have to become two 
young men, and be able to climb well, to drink 
milk upon occasion, and make nothing of much 
heat, many stones, many holes in the way, and 
still more holes in your boots ; for this you are 
much too nice, I think. But it was beautiful ! 
My journey with Pauline shall never be forgot- 
ten ; she was one of the neatest lasses 1 have 
ever met in my life, so pretty and healthy and 
full of mother wit. She told me stories of her 
village, and I told her some of Italy ; but I 
know which amused the other most. On the 
preceding Sunday all the young people of dis- 



tinction in her village had gone out in procession 
to a spot far over the mountains, for an afternoon 
dance. They set out soon after midnight, came 
upon the mountains while it was yet dark, made 
a big fire and boiled coffee ; towards morning the 
men leaped for a wager before the ladies (we 
passed a broken hedge which testified of it) ; 
then they danced, and were all at home again 
on Sunday evening. Early on Monday morning 
the work went on again in the vineyards. I vow, 
I felt a great desire to become a peasant of the 
Vaud, as I listened to her so, and as she showed 
me from above the villages, where they dance 
when the cherries are ripe ; others, where they 
dance when the cows go to pasture, and they 
have milk. 

To-morrow indeed they are to dance in St. 
Gingoulph ; they go by water, over the lake, and 
whoever can make music takes his instrument 
along ; but she is not to go over with them, be- 
cause her mother does not permit it, out of fear 
of the broad lake ; and so many other maidens 
do not go, because they keep together. Then 
she asked leave of me, to say good day to her 
cousin, and went down into the pretty house 
upon the meadow ; presently the two girls came 
out sat down upon the bench, and talked. — 
Above on the Col de Jaman I saw her relations, 
mowing, and pasturing the cows ; what a halloo- 
ing and screaming there was ! added to which the 
humming and tooting of those above ; then they 
laughed ; I could not understand a word of this 
Patois, except the beginning, which went Adieu 
Pierrot ! Besides all this there was a merry, 
crazy echo, screaming, laughing, tooting with 
them ; and so we came about midday to Alliere. 
After I had rested, I took my pack upon my own 
back again ; for a thick old servant, who wanted 
to carry it for me, annoyed me ; we shook hands 
and parted. I went down the meadows, and it 
you are not pleased with Pauline, or have found 
her tedious, it is not my fault, but the fault of 
the description ; the reality was nice. And so 
the continuation of the journey. 

I came to a cherry tree, where the people were 
gathering fruit, lay down beside them in the 
grass, and ate with them awhile ; then I took my 
nooning in Latine, in a cleanly wooden house. — 
The joiner, who had made it, kept me company 
over some roast lamb, and pointed with pride to 
every table, to the cupboard and the chairs. — 
Finally this evening I have arrived here, through 
the dazzling green meadows, with houses stand- 
ing round on them, amid fir trees and springs. — 
The church here lies upon a little velvety green 
hill ; far beyond there are houses still, and fur- 
ther, cottages and rocks, and in a ravine still a 
little snow over the meadows. It is one of the 
most idyllic spots, somewhat such as we saw to- 
gether in Wattwyle, but the village is smaller, 
and the mountains broader and greener. 

But I must conclude the present day with a 
eulogium upon the Canton de Vaud. Of all the 
lands I know, this is the most beautiful, and the 
one in which I should best love to live, if I should 



get to be quite old. The people are so contented 
and look so well; the country likewise. One 
coming out of Italy often feels quite lachrymose 
here over the honesty there still is in the world ; 
over the happy faces ; over the want of beggars, 
and of surly oflicials ; over this utter contrast 
among men. I would thank God, that he has 
made much that is so beautiful ; and may he 
grant us all, in Berlin, England and the Chateau 
d'Oex, a happy evening, and good night. 

(To be continued.) 



Translated for this Journal. 

Franz Sclmbert. 

A BIOGRAPHICAL SKETCH. 

From the German of Dr. HEINRiCff von Kkiissie. 
{Continued from page 3.) 

By no means all of Schubert's compositions, and 
particularly of his songs, are known and published. 

It would be a laborious task, yet one that would be 
hailed with many thanks, to find out and bring to- 
gether the original manuscripts or copies which exist 
in different hands. Apart from the interest which 
many of these unknown pieces would have in them- 
selves, we should gain by a farther insight into the 
astonishing productiveness of Schubert. 

Of the songs of his earliest period the originals 
are very much injured, and in part wholly lost. 

One of the most complete and valuable collections 
of his printed and unprinted songs, jriviner the dates 
of their origin, was in the possession of Counsellor 
Wittaczek. With the help of this, and of the man- 
uscripts of church and instrumental music in the 
hands of the music dealers. Spina & Hasliager ; to- 
gether with the exceedingly valuable original manu- 
scripts and copies (oontainins; operas, symphonies 
and church music) left with the estate of Ferdinand 
Schubert, — a chronological catalogue of Schubert's 
works might perhaps be arranged, such as would 
afford the only true and solid bnsis tor a right appre- 
ciation of his artistic development. 

An extended catalogue of Schubert's songs (now 
in possession of Spina's music publishing house) had 
been composed by his friend and adviser, Pinterios. 
It contains 505 of them, but is not exhaustive. The 
opus, number found upon the printed works is too 
arbitrary and accidental, to he taken into account 
when the question is about the time of a song's origin . 

Schubert has also composed a considerable number 
of songs for several voices. Some of these {as the 
Duet between Mignon and the Harper, Collin's 
" Light and Love," a two-part song for tenor and 
soprano, the dialogues in the Ossian Songs, and in 
Mayrhofer's Antigone and CEdipus, — which last are 
also often sung by one voice) may be fitly classed 
with the songs, and are also published with them. 
The other part-songs are in part purely vocal ; but 
to the most of them an ohbliijato accompaniment is 
attached, for piano, or guitar, or physharmonica and 
organ. They are in three, four, five and eight parts ; 
also for double chorus, for male and female voices 
alone, but generally composed for n mixed choir, 
with and without solo. Among the purely vocal 
pieces are the Quartets for male voices : " Junglings- 
wonne " (youth's delight), " Love," " Zmn Runde- 
tanz." and "Night" (to poems by Mathison) ; "Die 
Fhicht von Lappe," "Robbers' Song," "To Spring," 
"Fisher Song," "To the Distant One," the "Winter 



10 



DWIGHT'S JOUENAL OP MUSIC 



Day," and the song, which was first sung at the un- 
covering of the memorial tablet on the house of 
Scluibert's birtli : ''Es rieselt klar unci wehend," a splen- 
did composition in the genuine vein of Schubert. To 
these purely vocal songs may be added : the Canons 
aire, composed in 1813, the "Grave-Digger's Song," 
"Elysium," by Schiller (for two tenors and a bass), 
HiiUz's "May Song " (for two sopranos and a bass), 
chorus of Angels from iHiiist (composed in 181C), 
Terzetto for his father's name-day (two tenors and 
bass), "Das Ahendrolh " by Kosegarten and "Lament 
for Aly Bey " (lioth for three voices), "Prayer" by 
La Motte Fanque', and "the Dance," Quartet for 
mixed voices, the 92nd Psalm in the Hebrew lan- 
guage (for two baritones, soprano, alto and bass, 
composed in 1828), "Song in the Open Air," by 
Salis, .Male Quartet (composed in 1817), "Wer Le- 
tienslust fulikt," Quartet for two sopranos, tenor and 
bass (1818) ; then the choruses: "The Grave," by 
Salis ; "Miners' Song " ; "Drinking Song before 
battle"; "Sword Song"; "Punch Song to ho sung 
in the North" (two part) ; "Hunting Song," by 
Zacharias Werner; "Liitzow's Wild Hunt" (1815) ; 
the "Morning Star," and "Hunter's Song," by Kor- 
ner (for two vocal parts, or two horns) ; "Battle 
Song," by Klopstock (three-part) ; and the superb 
double chorus for men's voices, Klopstock's "Battle 
Song" (composed in 1827). 

Of those with ohhlirjato piano accompaniment may 
bo mentioned the well known male Quartets : "The 
Little Village"; "The Nightingale"; "Spirit of 
Love " ; "Contradiction " ; "The Gondolier " ; "Past 
in Present " ; "Night Song in the Woods " ; "Spring 
Song"; "Enjoyment of Nature," "Night music" 
(by Saekendorf ) ; "Drinking Song of the fourteenth 
century," from Rittgraff's Historical Antiquities; 
and the "Boat Song," from Scott's "Lady of the 
Lake " ; — furthermore the two Comic Terzets : "The 
Advocates " ('for two tenors and bass), and the 
^' Hochzeitshraten" (wedding roast meat) by Schober 
(for soprano, tenor and bass) ; "To the Sun," a quar- 
tet for mixed voices (1816) ; "Dcr Schicksalslenher" 
(the swayer of destiny) ; "God in the Storm " ; "God 
the world-creator " ; "Hymn to the Infinite"; and 
"God in Nature," likewise for mixed choir ; — the 
Psalm, "God is my Shepherd," * for four female 
voice parts ; "Nachthelle " and Serenade for soli and 
female chorus; "Moonlight," Iiy Schober (a male 
quintet, for two tenors and three basses) ; "Coro- 
nach " ; "Dirge " from Scott's "Lady of the Lake " 
(two sopranos and an alto) ; "Miriam's Song of Tri- 
umph," t for soprano and alto solo, and mixed cho- 
rus; finally, the eight-part male chorus, "Battle 
Song," by Korner, and the eight-part "Hymn," the 
latter also with accompaniment of brass instruments. 
Among the vocal pieces in several parts composed 
with instrumental or full orchestral accompaniment, 
belong : the chorus "For the Victory of the Ger- 
mans," with accompaniment of violins and 'cellos ; 
"Song of Spirits over the Waters,"} by Goethe, an 
eight part chorus with accompaniment of violins, 'cel- 
los and double basses (composed in 1817) ; and the 
Cantatas : "The Spring Morning " ; "Faith, Hope 
and Charity " ; for the Consecration of a church bell, 
for male and mixed chorus, with brass accompani- 
ment; the unfortunately lost "Prometheus" (1816), 
which we have already mentioned ; the "Resurrec- 
tion of Lazarus " ; "Easter Cantata for voices and 
orchestra (1820), &c. ***** 

Although these pieces for several voices, taken as 
a whole, cannot claim so high an interest as Schu- 
bert's Songs, yet they bear more or less the stamp of 
his genius ; indeed, as if it could not be otherwise, 
he has achieved in some of them things that are su- 
perb and unsui-passed. It would scarcely be possi- 
ble to wise one joy in a more lovely and poetic man- 
ner, than he has done it in the Serenade (by GriU- 

• Printed in Bwi'ghVs Journal of Music, Way, 1858. 
t Printod in Dwlght^s Journal of Music, October, 1858. 
t Sung by the "Orpheus," in Boston, March, 1862. 



parzer). "Night Song in the Woods," "Nachthelle," 
aud above all "Miriam's Song of Triumph," and the 
"Chorus of Spirits over the Waters," are composi- 
tions of imperishable beauty ; we scarcely find their 
equals in this kind of composition. The noblest 
melodies alternate in them with passages full of en- 
ergy and fire ; and the first parts of the "Night 
Song," and "Nachthelle," and still more the "Miri- 
am " and the "Spirits " Song, show what admira- 
ble power of characterization Schubert possessed, 
and with wliat a romantic charm he could invest his 
tone-pictures. 

Miriam's praise of the Most High after the passage 
of the Israelites over the Red Sea, and the people's 
Song of Jubilee over their deliverance from slavery, 
and the downfall of their enemies, — a lofty theme in 
any case — seems to have inspired both poet and com- 
poser ; since the former has produced a very success- 
ful poem, and the latter one of his noblest composi- 
tions. 

The first strophe : "Strike the cymbals," is in 
broad rhythm, and in a style reminding one of Han- 
del ; which then in the second strophe, at the im- 
age of the Lord as a shepherd, with his staff, going 
before his people out of Egypt, assumes a tone of 
tender and trustful emotion. In the third strophe 
the awful sense of the miraculous, during the passage 
through the upheaved sea, is magnificcntlj' expressed 
in music. Here begins the description of the ap- 
proach of the enemy, of threatening danger and the 
destruction of Pharaoh with his host, composed 
throughout in a manner as peculiar as it is finely 
iinaginative ; and after the sea has become calm 
again, the opening chorus returns, and a powerful 
Fugue concludes the wonderful tone-picture. 

One of the most remarkable, perhaps the most 
deeply conceived of Schubert's compositions, is his 
"Song of Spirits over the Waters." Here again 
each strophe is musically reproduced by itself in an 
extremely individual and characteristic manner, and 
the Last comes round again, with slight change, to 
the first. Instantly the spirit-like, mysterious pre- 
lude of the stringed instruments transports the hear- 
er to the right mood, and prepares him in the wor- 
thiest manner for the song that follows. Here too 
there is no mistaking the difficulty of setting to music 
Goethe's words, which, sublime as they are and full 
of significance, do not at all invite to musical treat- 
ment. It was reserved to Schubert's genius, to make 
of it a tone-painting so conspicuous for melody, de- 
clamation and harmony, that there is scarcely a se- 
cond of the same kind to be pl.iced beside it. 

Among the choruses and part-!5ongs already enum- 
erated, there are some of fascinating beauty, as : — 
"The Contradiction," "The Gondolier," "Spring 
Song," the " Battle Song " for double chorus ; and 
especially the Psalms, Hymns, &c., composed for 
female and for mixed voices. Of the sublime chorus 
of spirits in the drama "Rosamund" we shall speak, 
when we come to Schubert's- operas. Less pleasure 
will be found in the two canon-like conclusions to the 
otherwise charming male quartets: "The Nightin- 
gale and the Village." These may have been effec- 
tive once; but now they seem, especially that of the 
"Nightingale," in dance rhythm, rather trivial. 

The greater part of these compositions have be- 
come known to the musical public through repeated 
performances in concerts. It was first the Mdnncr- 
gesamjverin, which, soon after its formation, devoted 
itself to Schubert's chorus compositions, and perform- 
ed the most of them with the greatest success, espe- 
cially: "Contradiction," "Night Song in the Woods," 
" The Gondolier." " Serenade," " Nachthelle," the 
Psalm " God is my Shepherd " (the last three trans- 
posed for men's voices'), and finally (in 1858) the 
"Song of Spirits over the Waters." 

Among the Singing Clubs of more recent origin, 
for mixed voices, the "Singverein " has been partial 
to the muse of Schubert, and thus far has brought 



out chiefly in its concerts the choruses of a religious 
character ("Hymn to the Infinite," "God in the 
Storm), the song of the "Fe.5tival of All Souls," and 
finally " Miriam's Song of Triumph" (with instru- 
mentation by Franz Lachner.) 

Some of these vocal pieces, evidently calculated 
for a large choir, were commonly performed in Schu- 
bert's lifetime, and still later, by a single, or at the 
most a double or triple Quartet : but they arc now 
presented by imposing choral masses, and of course 
with incomparably grander effect. The solo airs, 
too, interwoven here and there, gain essentially in 
significance with a powerful chorus at their side, out 
of which they lift themselves, and which, corning in 
at fitting places, carries on the song with mighty 
voices. 

Schubert's chief strength, which lay in inexhausti- 
ble richness and originality of molodies, is also un- 
mistakably prominent in this form of music; the 
melodic part maintaining its ascendancy. But here 
too, as in much the greater part of his compositions, 
the instrumental not excepted, there is an unmistak- 
able inclination to that form of music, with which he 
started on the race for immortality, — the Song. 

It is very evident that many a vocal composition 
in several parts by Schubert lies still buried in the 
dust, and awaits the hour, when it (like Goethe's 
Spirit Chorus) shall be summoned to the daylight, 
to the honor of the composer and the joy of all 
friends of music. 

(To be continueri.) 



The Great Triennial Handel Festival at 
the Crystal Palace, in 1862. 

(From the Pamphlet Programme of the Directors.) 
Second Extract. 

A short description of the arched roof, with which 
it is intended to cover the great Orchestra.will doubt- 
less prove interesting, as a roof of this enormous span 
is a novelty in construction of no common order. 

The sides of the Orchestra are about sixty feet 
high, or nearly the same as the Birmingham Town 
Hall — one of the very best buildings for music in 
this country. Wooden cross-tie girders being carried 
across, in the form of an arch, rising about 40 feet in 
a clear span of 216 feet, the underside will be filled 
in with tie-bracin>;s, lined with well-seasoned match- 
hoarding, bound closely together by ingenious appli- 
ances, uutil the whole surface becomes as hard and as 
resonant as a drumhead. It need scarcely be pointed 
out, that to carry over a roof of this character is no 
small or inexpensive undertaking ; but as it is so 
unquestionable that this addition to the great Orches- 
tra will render it as niiricalled for its resonance, as it 
will be uneqnaled for its capacifi/ — and thus make the 
Centre Trunsept of the Crystal Palace unapproach- 
able as a locale for a Great Choral Festival — it has 
been determined to carry it out 

This addition to the Orchestra is no mere experi- 
ment. When the roof of Exeter Hall was altered a 
few years hack, under the advice ami opinion of the 
best acoustical authorities, the old plaster ceiling was 
removed, and a roof similar to that now proposed 
was substituted with the most marked succes. Similar 
results have also followed the same kind of ceiling 
in the present Concert Room at the Crystal Palace. 
.So far as it went, the enclosure of the sides of the 
great Orchestra, for the 1859 Festival, produced 
equally satisfactory results, .and proved conclusively 
that the work only required to he fully carried out, as 
now proposed, for the Handel Festival Orchestra to 
be perfect. 

It may be remarked, that too great height is by no 
means desirable for successful musical results. The 
central point of the arch over the Orchestra has 
therefore been limited to exactly one hundred feet 
high. As this will give a clear space above the heads 
of the upper rows of Chorus Singers, similar in pro- 
portion to that at some of the best Music Halls, it is 
believed that a proper height has been preserved for 
the due transmission of sound downwards upon the 
audience. It was found at the last Festival that too 
much space overhead caused the sounds to travel 
irregularly, so that complex passages in the Choral 
pieces occasionally became confused. A similar 
result was observed at St. Paul's Cathedral, at the 
performance of the " Messiah " there last January. 
Although in a few situations the music was effective, 
in the greater portion it was so uncertain from the 



BOSTON, SATURDAY, APRIL 12, 186 2. 



11 



tone wandering about tlie lofty Dome and beinp: re- 
echoed below, that great ditfieulty was experienced in 
keeping tlie Orchestra togetlier, the experience of the 
performers lieinjr that tliey had rarely felt so niiieh 
difficulty in falling iii with tlie " swing" of the Or- 
chestra. This was, no doubt, partly owing to the 
Orchestra being placed nearly under the great Dome, 
a position obviously bad for the dent development of 
intricate music. Tlie performance, however, was an 
intercstinir experiment, tlioiiLrh it fully bore out the 
opinion expressed by the writer in IS.tG, in reference 



to the Centenary Handel Commemoration, namely, 
— that, ncitlier a.s regards Audience nor Orchestra, 
could anything approaching an ader|uate commemo- 
ration of Handel be held in St. Paul's. 

The accommodation required at Festivals so vast 
as those of the Crystal Palace is best measured by 
comparison. The following table, compiled from 
the books of Choral Festivals elsewhere, hitherto 
regarded as " great," will prove interesting. When 
it is observed how immensely the numbers of exccu 
tants in 18C2 will exceed tbese, and when it is 



remembered thai tbe four days (including the rehear- 
sal) at the 1859 Festival were attended by Eighty- 
one Thousand Three Hcndhed and Nineteen 
Persons, some idea will be gained of the magnitude 
of the undertaking and of the amount of musical 
enjoyment of the very highest order afforded by these 
great music meetings. The axiom stated in the pre- 
ceding pages, that the Great Handel Festival at the 
Crystal Palace is a " something apart from ordinary 
attempts," is beyond doubt establislied by these sta- 
tistical facts. 



COMPARATIVE STRENGTH OF ORCHESTRAS AT VARIOUS MUSICAL FESTIVALS, ETC. 



Torlt Musical Festival, 1823 

Westminster Abbey do. , 17S4 

Westminster Abbey do , 1834 

Birmingham Town Uall Opening, 1834 

Leeds do. dO. 1858 

Liverpool do. do. 1S54 

Bradford do. do. 1853 

Gloucester Cathedral Festival, 1859 

Worcester Cathedral Festival. 1860 

Hereford Cathedial Festival, 1861 

Norwich Festival. 1860 

."Messiah, St. Paul's, 1861 

Birmingham Festival. 1861 

Sacred Harmonic Society Concerts, Exeter Hall . 

Opening of 1851 Exhibition 

Opening of Crystal Palace, 1854 

Triennial Handel Festival, 1862 



STRINGED INSTRUMENTS. 



1st 
Violin 



2nd I 
Violin, 



32 
4: 
40 
24 
18 
24 
16 
14 
12 
12 
12 
14 
26 
24 
18 
50 
93 



122 

157 

143 

100 

74 

80 

62 

52 

54 

44 

55 

52 

106 

98 

66 

190 

419 



57 
93 
75 
45 
22 
19 
22 
22 
22 
19 
20 
17 
33 
23 
19 
210t 



Total 
Band. 



179 

250 

223 

145 

96 

99 

84 

74 

76 

63 

75 

69 

1.39 

121 

85 

400 

605 



CHORUS. 



64 

63 

124 

67 

65 

85 

64 

64 

56 

40 

76 

125 

89 

1.30 

130 

312 

810 



55 

45 



57 
60 
55 
48 
42 
22 
60 
125 
89 
130 
120 
312 
310 



76 
80 
64 
62 
59 
71 
69 
58 
52 
23 
59 
135 
88 
130 
175 
312 
760 



79 
79 
100 
59 
60 
85 
69 
64 
68 
25 
66 
138 
90 
130 
176 
312 
750 



273 

257 
3.56 
216 
241 
301 
227 
234 
208 
110 
251 
521 
356 
620 
601 
1.248 
3,120 



Conductor, 

Princip.al 

Vocalists, 

&c. 



16 
18 
53 
19 
25 
11 
16 
12 
17 
13 
12 
10 
13 
10 
3 
2 
10 



468 
525 
632 
380 
362 
411 
327 
320 
301 
186 
338 
600* 
608 
651 
689 
1.650 
3,635+ 



* Numbers stated iu Books of Words ; choru.$ estimated only. 1 This includes 150 .Military Band Performers, 

i Exclusive of Librarians, Stewards, and other officers; including these, the number will exceed 4,000. 



By musicians it will probably be noticed that in 
the composition of the Chorus for the coining Festi- 
val the Trebles and Altos outnumber the Tenors and 
Basses. This has been done advisedly ; the experi- 
ence of the former Festivals having shown that for 
the Orchestra in which tliey are assembled, the due 
proportion of Chorus has thus been reached. 

Another point to which great importance is attach- 
sd for the coming Festival, is the employment of a 
sufficient force of Violas and Violoncellos, with their 
correspondiui: wind instruments, as well as a comple- 
ment of good, full, round-toned Bass instruments. 

Those who where present at the Birmingham Fes- 
tival in August last, must have been much struck 
with the quantity and quality of middle tone produced 
by the supcrh band then assembled. There was a 
fulness and satisfying effi'ct produced by this combi- 
nation of instruments, in the highest degree successful. 
It was one of those specialities of hiippy Orchestral 
selection in which .Mozart, Beethoven, or Mendelssohn 
would have revelled. 

One of the diHiculties of an unusually great Or- 
chestra is, undoubtedly, to secure a sufficient body of 
full, deep, and middle tone. It will, however, be 
met in the coming Festival by an increase of the 
larger stringed instruments, and also by the use of a 
number of Serpents, and large-tubed brass instru- 
ments, which give the lower notes in a round, full 
manner. The large Kettle-drums, as well as the great 
Bass Drum, made for the Handel Festivals, are found 
of great service. Handel, in his own performances 
of his Oratorios, was evidently very anxious to 
employ drums as resonant and powerful as possible. 
A curious fact corroborative of this has lately trans- 
pired, in documents signed by him acknowledging 
the loan from the Master-General of the Ordnance of 
tbe day of the Tower Drums, and entering into en- 
gagements for their safe reuirn. These "Tower 
Drums," which are still preserved in the Ordnance 
stores at Woolwich, were taken by the Duke of Marl- 
borough at the battle of Malplaquet, in 1709, and 
long after Handel's death were in frequent request at 
Festivals and Slate ceremonials. They were, how- 
ever, outstripped in size by the ** Double Kettle 
Drums" provided for the Handel Commemoration 
Festival at Westminster Abbey, in 1784 ; a full de- 
scription of which is given by Dr. Burr.ey, in his 
neeount of the Commemoration, published in 1785. 
The dimensions of these are again considerably 
exceeded by the drums made expressly for the Handel 
Festival, which are by far the largest ever made. 



History of the Opera. 

From its oricjin in Itoly to the Present Time: with 

Anecdotes of the most celebrated Composers and 

Vocalists of Europe. 

When a joke, said Scribe, has been nsetJ for 
fifty years people may begin to laugh at it. " If 
you want to make gingerbread sweeter," says a 
character in Miss Bremer's charming " Home," 



" you keep it a year in a paste-board box." One 
recalls the witty Frenchman and the Swedish 
heroine whenever one reflects on the way in 
which our public thinks and feels towards new 
music. We like our music as we like our wine, 
of a certain age. The national curiosity with 
regard to a new composer or a new work is sur- 
prisingly small, the national appreciation surpris- 
ingly slow. Still we make some slight advances. 
M. Meyerbeer has established his name amongst 
us, and in time M. Gounod will do the same, in 
spite of the Aristarchi of the day. It is instruc- 
tive (to cite an example) to refer to the tone 
used by Mr. Hogarth in regard to the operas of 
M. Meyerbeer, which were, when he wrote, as 
good as they are now. Mr. Edwards is in pro- 
portion welcome, as showing the degree to wdiich 
English appreciation has been quickened. More 
remains to be done, v?ithout bringing our artists 
and audiences into the undesirable company of 
the modern image-breakers, who, unable them- 
selves to produce any form of beauty, have tried 
to set up Deformity on a pedestal, as the model 
and the divinity in Art of the nineteenth cen- 
tury. 

Our author, however, has in some degree fall- 
en short of what might have been accomplished. 
His book does not show that care in collection of 
materials which in every modern history is as es- 
sential as liberality of view. There are many 
modern German monographs and biographies 
with which we fancy him to be imperfectly ac- 
quainted, it at all. We cannot accredit all his 
French authorities. M. Castil Blaze, who is an 
especial favorite with him, is to be little trusted. 
This is the gentleman who, while Bishop ; was 
hashing up foreign operas to suit the musical vews 
of London managers, lent himself to a similar 
task, for the public in Paris. This is the gentle- 
man wlio outvied the worst transactions of the 
frivolous Italian ecclesiastics in transfer of the 
Bellini or the Verdi of the hour from the foot- 
lights to the organ-loft, by arranging a Mass (as 
M. d'Ortigue has just been reminding us) in 
wdiic'h passages from " La Cenerentola" and " II 
Barbiere" were employed during the most solemn 
anrl pompous portions of the rite ! Such an ar- 
tificer is even less to be relied on as authority 
than a Touchard-Lafosse, who rakes together 
all the temporary scandals from the French Opera 
chronicles ; or a Charles Maurice, who has the 
kindest words to publish concerning the artists 
most liberal in their contributions to the "black 
mail," from which himself and Madame Maurice 
(serviceably put forward on such oocasion) deriv- 
ed so much luxury and profit. One would not 



consult De Morlifcre, the Chevalier who establish- 
ed the company of paid applauders in the Paris 
theatres as a brancli of French enterprise, had 
he written a book on the success of artists ! To 
change the ground for one example more, — we 
own that tribute is due to Lord Mount-Edge- 
cumbe, as to one having written such agreeable 
recollections as an amateur given to dowagerism 
will jot down. But the bewilderment of that 
nobleman, cradled among Lydian measures and 
the "pretty music" (to borrow Lord Thurlow's 
plirase) of Italy, whose old age drifted him into 
times of Art, in which sensations of greater vigor 
replaced the lighter emotions of his young days 
of enjoyment, — is truly real, — and amounts to a 
discredit of his powers. 

Another qualification must be offered. This 
concerns the third chapter of our author's first 
volume, in which he enters with some ingenuity 
into the construction of opera-books. We cannot 
for a moment admit his proposition, that because 
the words are sometimes repeated twice, thrice, 
or more in an opera, and because singers too 
often speak unintelligibly, the difference betwixt 
sense and nonsense goes for little, provided the 
story be well cut out. "Though I have seen 
'Norma'fifty times," says he, "I have never exam- 
ined the libreUo and of the whole piece know 
scarcely more than the two words which I have 
already paraded before the public, ^' Casta Diva." 
What do the writer's ears make of the exclama- 
tion, " rimembranza" in the duet betwixt 
Adalgisa and the priestess, where the former 
tells the latter her own story ? What of the 
burst, "jVo, non Iremar," where the infuriate 
woman menaces her false lover by threatening 
the life of the children of their guilty love i" 
What of the war-cry, "Giwrra! Guerra !" m the 
second act ? What of Nnrma's advance on 
Pollione, " In mio man alfin iu sci," made by her 
sinister vengeance when she has him within her 
grasp ? Vi'e remember "Norma" by these words 
as much as by the musical phrases to which they 
are set — from their oflering scope to the singer's 
declamatory power and iudividuality of reading. 
They are of as much consequence to the scene 
as '^Wefail" followed by '■'And we'll not fail " to 
the part of Lad;/ Machelh. To replace these 
English phrases, simple as they seem, by "IW 
don't succeed," and " We will succeed," would be 
a hazardous experiment. A pure and poetical 
text in this very book of "Norma" carries off 
Bellini's feebleness and triteness as a musician, 
and enables the Pasta, or Grisi, or Adelaide 
Kemble who plays the part, to enhance the efiects 
of situation and of song by that of declamatory 



12 



DWIGHT'S JOURNAL OF MUSIC. 



force. Till' |iriii(i|i1e U\i{I down is furllier provpd 
by tlie int^vitabie loss- caused to all music bv 
translation of tlie original words, let it be ever 
so adroitly niana^ed. Try the best English or 
French version of "Erl Konig," and much of its 
northern horror passes away from it. In Italian, 
it would be simply impossible. "Ah, man Jils," 
in "Le Prophete'" becomes sadly weakened when 
it is presented as '■'■ Ah, mio fylio," m " II Pro- 
feta." 

It is not our intention connectedly to follow 
the story of Opera from the days when Caccini 
and Peri gave it something like its present form 
in Italy. — when Kciser Germanized it at Wo!f- 
enbiittel, — and the Abbe Mailly exhibited in 
the Bishop's Palace at Carpentras in France, 
down to our own period ; but to extract what is 
least known and the most amusing from these 
pages. To begin : in the times of LuUi — times 
coarse and primitive, as regarded the theatre, 
though there were also times when the Grand 
Monarque danced in his own court ballets — we 
find a sketch of a librettist, which will be new to 
my readers : — 

"Many curious stories are told of La Fontaine's 
want of success as a librettist ; Lulli refused three of 
his operas, one after the other, 'Daphne',' 'Astre,' 
and 'Acis et Galathe'e' — the 'Acis et Galathfe' set to 
music by Lulli being the work of Campistron. At 
the first representation of 'Astre'e.'of which the 
music had been written by Colasse, (a composer who 
imitated and often plagiarized from Lulli,) La Fon- 
taine was present in a box behind some ladies who 
did not know him. He kept exclaiming everv mo- 
ment, 'detestable I detestable !' Tired of hearing 
the same thing repeated so many times, the ladies 
at last turned round and S!iid, 'It is really not so bad. 
The author is a man of considerable wit ; it is writ- 
ten by M. de La Fontaine.' — 'Cela ne vaut pas le 
diable,' replied the librettist ; 'and this La Fontaine 
of whom you speak is an ass. I am La Fontaine, 
and ought to know.' After the first act he left the 
theatre and went into the Cafe Marion, where he fell 
asleep. One of his friends came in, and surprised 
to see him, said, 'M. de la Fontaine ! How is tliis ? 
Ought you not to be at the performance of your 
opera V The author awoke, and said with a yawn, 
'I've been ; and the first act was so dull that I had 
not the courage to wait for the other. I admire the 
patience of these Parisians !' " 

Opera was naturalized in this country, as 
everywhere else, by aid of Italian talent. Who 
has forgotten the singing " gentlewoman," from 
the South, commemorated by Pepys, who would 
not "be kissed, which Mr. Kelligrew, who brought 
her in, did acquaint us with "? Here, too, as in 
every other land, we have to remark how largely 
dances, machinery, pageantry of mad costliness, 
(the value of money considered), entered into 
the young life of musical drama. It has been 
dinned into our ears again and again, till we 
have been in danger of believing it, that such 
men as Spontini and M. Meyerbeer have demor- 
alized and destroyed the purity of Opera, by 
their vast combinations, and the splendor of scenic 
accessories demanded by their works. Nothing 
of the kind is the case. Our ancestors, be- 
longing to all the four cotmtries in which Opera 
has most flourished, were fifty times more lavish 
than any of their offspring ; as references to the 
doings at the courts of Tuscany, Saxony and 
France could show — or to our own masks of Jon- 
son and Jones. The best of the best artists then 
felt delighted to work as stage decorators, and 
this could not altogether be because the enter- 
tainment was confined to royalty and the noble 
and the wealthy ; for we read of some of the 
theatres in which it was represented capable of 
holding audiences of ten thousand persons. 

"I have already spoken (says Mr. Edwards) of the 
magnificence and perfection of the scenic pictures 
exhibited at the Italian theatres in the very first days 
of the Opera. In the early part of the seventeenth 
century, immense theatres were constructed so as to 

admit of the most elaborate spectacular displays. 

The Farnesino Theatre, at Parma, built for dramas, 
tournaments and spectacles of all kinds, and which 
is now a ruin, contained at least fifty thousand spec- 
tators." 

The habitual gathering of a fifty-thousand 
power audience at Parma is a fact or a fiction, as 



may be. But it is clear that, then, the orchestra 
hail no weight ; that tlie chorus in its modern 
predominance, was undreamed of; that coinpos- 
ers were timid and monotonous in their produc- 
tions. It was, therefore, necessary to regale the 
eye with shows — no matter how tasteless oi ab- 
surd their splendor. "After the opera," says Mr. 
Edwards, " comes the hallet." Surely this must 
be a slip of the pen. "Before" shoidd have been 
his word. Dance was earlier in the field ; more 
accomplished, better attired than Song. To Dance 
we owe rhythm, which is one of the two cardinal 
pillars of Opera — the other being harmony. — 
From the combination of the two, melody, as we 
understand the word, originated ; the chant or 
recitative, to which poetical thoughts or pictur- 
esque fancies could be declaimed, having retain- 
ed its primitive and formless rudeness, long after 
feet had moved on the floor in sprightly or stately 
order, to whose motion, periodicity, or recur- 
rence (discipline to put it otherwise) was neces- 
sary. 

Here is a paragraph reminding us that there 
is nothing old under the sun : — 

"Italian Opera was introduced into England at 
the beginning of the eighteenth century, the first work 
performed entirely in the Italian language being 
'Almnhide,' of which the music is attributed to Buo- 
noncini, and wdiich was produced in 1710, with Val- 
entmi, Nicolini, Margarita del'Epine,(^assani, and Sig- 
nora Isabella,' in the principal parts. Previously, for 
about three years, it had been the custom for Italian 
and English vocalists to sing each in their own lan- 
guage. 'The king, or hero of the play,' says Addi- 
son, 'generally spoke in Italian, and his slaves an- 
swered liim in English ; the lover frequently made 
his court, and gained the heart, of his princess in a 
language which she did not understand. One would 
have thought it very diffic-dt to have carried on dia- 
logues in this manner without an interpreter between 
the persons that conversed together ; but this was 
the state of the English stage for about three years." 

Why, the same thing happened yesterday — 
happens to-day. When Miss Adelaide Kenible 
sang in "Norma" at Frankfort, her voluininous 
Ada/gisn, Friiulein Kortky, her wicked PoUio, 
Ilerr Chrudlmsky,and the rest of the corpx great 
and small, discoursed the opera in German to her 
Italian. At the moment of writing, news comes 
from Berlin that precisely the same pleasant 
pasticcio of two languages in one opera has been 
presented on the occasion of the appearance 
there of the new-est "sensation" singer, Mile. 
Adelina Patti. 

Passing forward a page or two, we come to an- 
other illustration of Opera curiosities in a happy 
imitation by our author of Panard's well-known 
song. Mr. Edwards manages rhyme and lan- 
guage so easily that he had no right'to have made 
so light of the one and the other, in connection 
with music. _ The paraphraser of the four verses 
which are given here should be able to write 
"good words" for an opera book. 

WHAT MAT BB SEEN AT THE OPEKA. 

I've seen Semiramis, the queen ; 

I've seen the Mysteries of Isis; 
A lady full of health I've seen 

Die in her dressing-gown of phthisis. 

I've seen a wretched lover sigh, 
"Fra poco " he a corpse woidd be, 

Transfi.x himself, and then — not die, 
But cooly sing an air in D. 

I've seen a father lose his child. 

Nor seek the robber's flight to stay ; 

But, in a voice extremely mild. 

Kneel down upon the stage and pray. 
* * * * "^ -^^ 

I've seen a churchyard yield its dead, 

And lifeless nuns in life rejoice ; 
I've seen a statue bow its head, 

And listened to its trombone voice. 

The mixture of prodigality and folly which, 
from its first birth, has distinguished Opera, is 
neither new nor old. Operatic sparrows flew 
about the stage in Handel's "Rinaldo," (1710), 
and were lashed out of life by the very Specta- 
tor, Addison, who wrote a dreary opera-book of 
his own containing such lines as — 



Widow Trusty, wdiy so fine 1 

During Mr. Macready's management in Lon- 
don, real birds were engaged to chirp and to 
warble, by way of giving " local color" to the 
wood scenes of "As You Like It." 

Here are extracts from other of Mr. Edward's 
pages,which take us into another worhl of Opera, 
yet bear out the argument which we have been 
playing with rather than enforcing: 

"The Itidian Opera was psiablisbed in Vienna 
under the Emperor Leojiold I., with great magnifi- 
cence, .=0 much so indeed, that for many years after- 
ward.s it was far more celebrated as a spectacle than 
as a musical entertainment. * * We have seen 
a French maid of honor die to the fiddling of her 
page; the Emperor of Germany expired to the ac- 
companiment of a full orchestra. Feeling that his 
end was approaching, he sent for his musicians, and 
ordered them to commence a .symphony, which they 
went on playing until he died. * * Several of 
Zeno's and a great number of Metastasio's works have 
been set to music over and over again, but when they 
were first brought out at Vienna, many of them ap- 
pear to have obtained success more .as grand dra- 
matic spectacles than as operas. * * When 
Handel was in England directing the King's Theatre 
in the Hayniarket, and when the Dresden Opera was 
in full musical glory, (before as well as after the ar- 
rival of Hasse), the Court theatre of Vienna was 
above all remarkakle for its immense size, for the 
splendor of its decorations, and for the general cost- 
liness and magnificence of its spsctacles. Lady 
Mary Wortley Montague visited the Opera, at 
Vienna, in 1716, and sent the following account of 
it to Pope: ' I have been last Sunday at the Opera, 
which was performed in the garden of the Favorita : 
and I w.as so much pleased with it, I have not yet 
repented my seeing it. Nothing of the kind was 
ever more magnificent, and I can easily believe what 
I am told, that the decorations and habits cost the 
Emperor thirty thousand pounil sterling. The stage 
was built over a very large canal, and at the begin- 
ning of the second act divided into two parts, discov- 
ering the water, on which there immediately came, 
from difi'erent parts, two fleets of little gilded vessels, 
that gave the representation of a naval fight. It is 
not ea.-^y to imagine the beauty of this scene, which 
I took particular notice of. But all the rest were 
perfectly fine in their kind. The story of the opera 
is the enchantment of Alcina, which gives opportu- 
nities for a great variety of machines and changes of 
scenes which are performed with surprising swiftness. 
The theatre is so large that it is hard to carry the 
eye to the end of it, and the habits in the utinost 
magnificence to the number of one himdred and 
eight. No bouse couM hold such large decorations ; 
but the ladies all sitting in the open air exposes them 
to great inconveniences, for there is hut one canopy 
for the Imperial Family, and the first night it was 
represented, a shower of rain happening, the opera 
was broken off, and the company crowded away in 
such confusion, that I was almost squeezed to death.' 
One of these open-air theatres, though doubtless on 
a much smaller scale than that of A''ienna, stood in 
the garden of the Tuileries, at Paris, at the beginning 
of the eighteenth century. It was embowered in 
trees and covered with creeping plants, and the per- 
formances took place there in the day time. * * 
I mvself saw a little theatre of the kind, in 18.^6, 
at Flensburg, in Denmark. There was a pleasure- 
ground in fi'ont, with benches and chairs for the au- 
dience. The stage-door at the back opened into 
a cabbage garden. The performances, which con 
sisted of a comedy and farce, took place in the after 
noon, and ended at dusk." 

There was a few years ago another of these 
garden opera-hou.ses, at Herrenhausen, close to 
Hanover, reminding one of Shakespeare's disposi- 
tion of the theatre for his Athenian play. "This 
green plot shall be our stage, this hawthorn 
brake our tiring house." The most recent of 
these out of-door theatres was the one in the Pre 
Catalan, close to Paris, the proprietors of which, 
thoughtasteful and delicate in no ordinary degree, 
had not sufficiently estimated the caprices of 
cliiTiate when planning a nightly speculation. The 
court caprices referred to were occasional — be- 
longing to the fairy world of royal commands. — - 
The audiences paid no money to see the show, 
and the artists (let it be hoped) were provided 
with shelter and escape, supposing rain fell on, 
or wind withered their rouge and their thinly 
clad legs, and that all the machinery of the 
actor's art was protected from moth and mildew. 

We are disposed to indorse Mr. Edwards's 



BOSTON, SATURDAY, APRIL 12, 18 6 2. 



13 



judgment on operas and singers, especially of the 
former. His appreciation of Signor Rossini, 
Donizetti, and Bellini seems to us just. In fair- 
ness to an elder composer, however, more stress 
might have been laid on the obliaations derived 
from Paer by the author of "II Barbiere." The 
overture to "Tancredi"is almost a parody on that 
of "Sargino." It may be submitted, too, that the 
slenderness of Bellini's science and the limited 
nature of bis resources have been here too much 
overlooked in favor of his expressive suavity and 
delicacy. His strong point was delicacy and 
and poetry of taste in the selection of his stories 
— in this how superior to that ot the more bril- 
liantjcomposer whom he misplaced ! What mifiht 
not Siguor Rossini have made of " Norma" — 
what could Bellini have done with " Moise V" 
The last opera (the French version of " Mose") 
does not receive its full justice from our agreea- 
ble writer. Yet the music added for Paris con- 
tains some of its composer's grandest and most 
individual inspirations. Thejinale of the second 
or third act, into which " mi manca la voce" is 
imbedded, will long remain unparagoned as a 
specimen of florid art and as an example of mu- 
sical excitement. 

The composer with whom Mr. Edward's book 
closes is Hoffmann, of whose "Undine" bespeaks 
— from hearing or from hearsay ? It is an opera 
concerning which the world has been naturally 
interested, from its acquaintance with the liter- 
ary efforts of its writer. Some hearsay impres- 
sious concerning it were set down in Mr.Chorley's 
"Modern German Music ;" and, from a contribu- 
tion by lierr Truhn there quoted, curiosity was 
allaj'ed by assurance that Hoffmann's faery 
music had none of the freaks and eccentricities 
which might have been expected from the author 
of the ■' Golden Pot" and " The Princess Bram- 
billa." It was stated that, apart from certain or- 
chestral devices, employed in ticketing the char- 
acters by phrases or combinations, as AVeberand 
Herren Meyerbeer and Wagner have since done, 
the work was tame, regular, and unimaginative. 
During the paliriv days of Dr. Liszt's enterpris- 
ing and experimental administration of the Opera 
house at Weimar, (that stronghold of experiment 
in German drama), the score of "Undine" 
was sent for, with a view to the revival of the 
opera. The music proved so utterly vapid, that 
all notion of producing a woi'k demanding much 
expenditure in scenery, greenery, and machinery 
was laid aside. It has not, for many years, been 
met with in any German opera-house. 

As to singers, Mr. Edwards shall tell something 
not generally known about Rubini. The story 
is not a bad story : 

"At the age of twelve he made his debut at the 
theatre of Romano, his native town, in a woman's 
part. Tiiis Q\\r\oy\% prima donna afterwards sat down 
at the door of the theatre, between two candles, and 
behind a plate, in which the admiring public deposit- 
ed their offerings to the fair hen'Jiciare. She is said 
to have been perfectly satisfied with the praise ac- 
corded to her for her first performance. Hubini af- 
terwards went to Bergamo, where he was engaged 
to play the violin in the orchestra between the acts 
of comedies, and to sing in the choruses during the 
operatic season. A drama was to be brought out in 
which a certain cavatina was introduced. The mnn- 
ager was in great trouble to find a singer to whom 
this air could be entrnsted. Kubirii was mentioned ; 
the manager offered him a few shillings to sing it, 
the bargain was made, and the new vocalist was im- 
mensely applauded. This air was the production of 
Lamberti. Kubini kept it, and jnany years after- 
wards, when he was at the height of his reputation, 
was fond of singing it in memory of his first com- 
poser. * * In 1814, he was engaged at Pavia as 
tenor, where he received about thirty-six shillings a 
month. Sixteen years afterwards, Rubini and his 
wife were offered nn engagement of six thousand 
pounds, and at last the services of Rubini alone were 
retained at the Italian Opera of St. Petersburgh, at 
the rate ot twenty thousand pounds a year. [Quiere ? 
Ed.] * * I must mention a sort of duel he once 
had with a rebellious B fiat, the history of which 
has been related at length by M. Castil Blaze, in the 
Revile de Paris. Pacini's 'Talisniano' had just been 
produced with great success at La Scala. Rubini 
made his entry in this opera with an accompanied 
recitative, which the public always applauded en- 
thusiastically. One phrase in particular, which the 



singer commenced by attacking the high B flat witli- | 
out preparation, and, holding it for a considerable 
period, excited their admiralion to the highest point. 
Since Farinelli's celebrated trumpet song, no one 
note had ever obtained such a success as this won- 
derful B flat of Kubini's. The public of Milan went 
in crowds to hear it, and having heard it, never failed 
to encore it. Uv' allra volta 1 rcsoimded thrttugli the 
house almost before the ningic note itself had ceased 
to ring. The great singer had already distributed 
fourteen B flats among his admiring audiences, when, 
eager for the tifieenth and sixteenth, the Milane e 
thronged to their magnificent tlieatre to be present 
at the eighth performance of 'II Talismano.' The 
orchestr.a executed the hricd prelude which announc- 
ed the entry of the tenor. Pvubini appeared, raised 
his eyes to heaven, extended his arms, planted him- 
self firmly on his calves, inflated his breast, opened 
his mouth, and sought, by the usual means, to prn- 
noinice the wished for B flat. But no B flat would 
come. Os hahi'i, ei non clamahli . Rubini was duudi ; 
the public did their best to encourage the disconsol- 
ate singer, applauded him, cheered him, and gave 
him courage to attack the nrdinppy B fiat a second 
time. On this occasion, Rubini was victorious. De- 
termined to catch the fuguive note, which for a mo- 
ment had escaped him, the singer brought all the 
muscular force of his immense lungs into play, struck 
the B flat, and threw it out among the audience with 
a vigor wbich surprised and delighted them. In the 
meanwhile the tenor was by no means ennally pleas- 
ed with the triumph he had jtist g:iined. He felt, that 
in exerting himself to the almost, he had injured 
hintsclf in a manner wbich migbr prove very serious. 
Something in the mechanism of his voice had given 
way. He had felt the fracture at the time. He had, 
indeed, conquered the B flat,hnt at what an expense ; 
that of a broken clavicle ! However, he eoutinin'd 
his scene. He wus wounded, but triumphant, and 
in his artistic elation he forgot the positive "physical 
injury he had sustained. On leaving the stage, he 
sent for the surgeon of the theatre, who, by inspect- 
ing and feeling Rubini's clavicle, convinced himself 
that it was indeed fractured. The hone had been 
unable to resist the tension of the singer's lungs. — 
Rubini may have been said to have swelled his voice 
until it burst one of its natural barriers. * It seems 
to me,' said the wounded tenor, ' that a man can go 
on singing with a broken clavicle.' — Certainly,' re- 
plied the doctor, *you have just proved it.' *How 
long wonld it take to mend \tV he enriuired. 'Two 
months, if you remained perfectly quiet during the 
whole time.' 'Two months! and I have only sung 
seven times. I should have to give up my engage- 
ment. Can a person live comfortably wdth a broken 
clavicle?' 'Very comfortably, indeed. If you take 
care not to lift any weight, you will experience no 
di'^agreeable effects.' 'Ah ! there is my cue,' exclaim- 
ed Rubini ; 'I shall go on singing.' — 'Rubini went on 
singing,' saj's M. Castil Blaze, 'and I do not think 
any one who heard him in 18.')1, could tell that he 
was listening to a wounded singer— wounded glori- 
ously on the field of battle. As a musical doctor I 
, was allowed to touch his wound, and I remarked on 
the left side of the clavicle a solution of continuity, 
three or four lines in extent, between the two parts of 
the fractured bone. I related the adventure in the 
Rue de Paris, and three hundred persons went to 
Rubini's house to touch the wound, and verify my 
statement.' Two other vocalists are mentioned in 
the history of music, who not only injured them- 
selves in singing, but actually died of their injuries." 

Mr. Edwards has, perhaps, forgotten that 
Madame Scio, the original Medea of Cherubini's 
grand opera, based on the Colchian story of 
magic, and to whom he dedicated the score of 
that noble but impossible musical tragedy, died 
of illness brought on by the exertion of singing 
that which no one should be required to sing. 

In the chapters concerning the Italian Opera 
in London during the elder times, which are live- 
ly enough. Da Ponte's Memoirs might have help- 
ed our author. That luckless creature, who as- 
sisted Mozart to a book, was here retained by 
Taylor as Pneia, and drivelled out his old age in 
America (as Mrs. Jameson has told us), with a 
sheet thrown over his head — asking every stran- 
ger " whether he remeinbereil the Emperor 
Joseph." But Da Ponte's recollections, strange- 
1)' edited by a person no less solemn than M. de 
Lamartine, are worth sifting by anyone occnjiied 
with the subject. When the talk is of dramatic 
singers, there is no forgiving such an oversight in 
a chronicle like the one here parted from, as that 
of the extraordinary claims of Madame Pasta 
on Italian opera. What Siddons was to English 



tragedy, what Mars and Rachel were to French 
drama, what Madame Ristori is to the Italian 
theatre — she was to the Italian musical drama : 
first among the first, best among the best. 

The book, to sum up, is a pleasant one ; if not 
so complete as it might have been made, in no 
instance false as to facts, and in some respects, 
an advance on former English books of the kind. 
— London Athenaium. 



A Symphony out West. — A Chicago paper 
(die Railroad Gazelle} thus deals with the C minor 
Symphony and its interpreters in that quarter : 

Mdsical. — The last concert of the Philharmonic 
Society was given to a crowded house. The princi- 
pal feature was Beethoven's Symphony No. 5 in four 
grand divisions, termed in mu.«ical nomenclature the 
Allegro, Amlante, Scherzo, and Allegro Huale, like 
a very prolix four-headed sermon with numberless 
horns. There was much professional skill evinced, 
and remarkable contrasts of heavy and light tones, 
vigorous wind blowing, and desperate fiddling all 
through this performance. By the time the finale 
was reached, we never saw an orchestra worked up 
into such a lather of profuse perspiration. The au- 
dience hore it like martyrs, vainly trying to compre- 
hend the grand ideas, and beauties of this wonderful 
"tone creation" so called, by the diligent study of its 
analysis as written by some triinscendcntal spiritual- 
istic Bedlamite, and printed on the hack of the pro- 
gramme. There we found it characterized as the 
"struggle of a human soul to escape pain and sor- 
row — nnd attain inward joy and cheerfulness." The 
"soul" finds itself in a sort of psychological purga- 
!orv. and moans, grunts, squeals, kicks, cries and 
thriishcs around gcnernlly, much (we suppose) as a 
very raw infant in its first entrance into the material 
world. Pirst, said "soul" gets very wretched — is the 
"prey of anguish and dismay" — "succumbs to noc- 
turnal demons approaching the goal of absolute des- 
pair." Its snffci-ings we are ready to admit as hor- 
rid and excruciating. In the second movement, the 
"soul" (the same one) finds a gleam of comfort.— 
Though bnttcrcil and shattered, it is inspired by a 
"JDYful presentiment of success" (the writer here pa- 
rcnrl eHc.ailv and parheiically exclaims) iind adds : 

"Let me simply allude to the transporting and ce- 
lestial passage where the key of A flat minor enters ; 
on the swelling gush of sweetest feelings near llie 
close, to the impetuous fervor of the 22d and 23d 
bars before the end." 

Did anyhodv notice it I Wc didn't. Did any- 
body gush 1 Not as we know of We are neverthe- 
less' complaisant enough to cry out Bully for the 
"22d and 2.'?d biirs before the end !" It's all right, 
no doubt. Though if the painter hndn't written 
"This is a horse," underncaih his work, no one 
would have known what it was. 

Next comes the tbird crisis in the history of the 
poor bedeviled "soul." Confound that scherzo! 
"Soul" tumbles into the dumps again. Once more, 
miserv and discontent tear at it. It tries to escipe. 
It succeeds, (represented bv a twitter on the fiddles 
tid-dle-de-tid-'lede, &c.) Then it don't- (Here the 
sounds rush down from the fiddles, jump on to the 
flules and clnriucts, skip on and over the violoncello, 
rush belter skelter to the wind instruments then, rat- 
tle down deep into the bowels of the double bass like 
numerous frightened rats into an unfathomable rat 
hole) It was a hard scramble. Soon "soul" gets 
over its scare and comes out again. Foolish venture, 
for again the inevitalile cat-hauling process goes on. 
Again it is racked and thnmb-screwcd until at last 
in'the "Allegro," it breathes easier— is pestered no 
longer beo-ins to feel good — feels better — ^jollity in- 
creases — is quite jubilant — is at last eniviptured— or 
as our crazy friend expresses it in a burst of fine 
phrenzv ; "ihe 'soul' seems to swim in the indisturh- 
able fullness of enjoyment and revels in ever swelling 
floods of dithvranihic inspiration." 

Cock-a-doodle-doo ! We never felt so delighted at 
a " soul's " success. If ever Peri — 

'* EarneiJ its title rlenr 

To 77jansions in the skies^^ — 

by virtue of long suffering, this same "soul " did. 
We unceasingly pray, it may enjoy itself " up there " 
and sincerely hope it will henceforth— 

" Birl faretoell to errry fenr 
Ami ivipe its weeping er/fS.^' 

" To return to our muttons" or Programme. Jli.ss 
— Terious (don't know her name, was'nt down) sang 
an Aria from " Jerusalem." It was very well done, 
and for the first time, the audience applauded. The 
only objection to it was the fact that she sing in Chi- 
nese, with which language but few here (besides our- 
sclf) are familiar. 



14 



DWIGHT'S JOURNAL OF MUSIC. 



Dii Passio then sanp an Aria wliicli carried us hack 
to the good old timesof the 17ih century — souiediins 
or other ahout "a piuus Si^rnor " (.Siirnora vvoiihl 
have been better) who had been woniidcd at Bull 
Run, retired to a convent — turned monk — and spent 
tlie rest of his days in Ijewailing the loss of a lar^c 
family of sixteen children, and a pension he had iicen 
promised, but did'nt fret. It was very affectinp;. We 
noticed three ladies almost in tears, but as the enamel 
on their faces would have suffered, they refraineil. 

" Sicilian Vespers " was certainly an instrumental 
improvement — full of rich, slroufr melody. We are 
ashamed to confess it, but we actually preferred 
" Balatka " to ** Beethoven." 

In the "Overture to William Tell" there was 
more variety, fire, {genuine mu-ic, expression, &c., 
than in all the rest put tojrether. It was ph'.yed too, 
finely — from bc<rinnina to end ihorouahly enjoyable, 
and left the audience to di-persc in the Iicstot humor, 
while the hist of the " Winter Scries" of Philhar- 
monic concerts also went out in a blaze of glory. 



Jtotglfs lounml of IPusix. 



BOSTON, APRIL 19, 186Q. 

Music in tuis Number. — Contiouation of Chopin's 
Mazurkas. 



Concerts. 
Last of the Philharmonic. — We fear 
that Mr. Zerr.^hn did not find the losses, wliich 
have compelled him to wind up his extra series 
so suddenly, to any considerable extent made 
pood to him by the attendance last Saturday 
evenincr. A stormy night and most forbidding 
atmosphere during the whole day only confirmed 
the musical indifference of many. The Music 
Hall was by no means full, although the audience 
was decidedly larger than on the two previous 
occasions. Those who were there enjoyed the 
concert greatly ; — only disturbed by the thought 
that such pleasures may not, probably will not, 
be renewed until another season. The pro- 
gramme was not the best that Mr. Zerralin has 
civen us, nor did it on the other hand lack inter- 
est. 

1. Le.q Preludes : A Symphonic Poem F. Liszfc 

2. Scren;ide, for four Viotoncellos F. Lachner 

Messrs. Wulf Fries, Wichtendahl, Verron, and Moor- 
house. 

3. Cavalina — From Attila — "Allor che i forti corono,". . . . 

Verdi 
Miss Chapman. 

4 Overture — To Goetbe^s " Egmont," Beethoven 

5 Uomania — From " Adrienne Lecouvreur," — "Cari 
fior,'' Vera 

Miss Chapman. 

6. Scherzo — From the '-Scotch Symphony, ".Mendelssohn 

7. llondto — From ''La Nina pazza per Amore,". .Coppola 

Mi.-^s Chapman. 
8 Overture — To "The Merry Wives of Windsor,". Nicolai 

yVe were unfortunately compelled to lose the 
first part. The three instrumental pieces in the 
second part are old favorites, and sounded as 
as fresh as new. The piquant Scherzo from the 
"Scotch Symphony," especially, was rendered 
with admirable point and delicacy, and a repeti- 
tion was demanded. Nicolai's " Merry Wives of 
Windsor" Overture is a light, sparkling, grace- 
ful work, which one can hear now and then with 
pleasure ; not a great work, but a happy one. 
The opera itself is full of enjoyable and pretty 
music, and like everything which the unfortunate 
composer wrote, shows a natural gift of melody. 
One could not get over the absurdity, though, of 
having Sir John FalstafF set to music. 

The vocal debutante of the evening made a 
very agreeable impression, and warmly enlisted 
the sympathies of her audience, by her unpre- 
tending, honest manner, as well as by her good 



qualities of voice and execution. Her compass 
is large, the higher soprano notes very clear and 
true, the lower tones rich and suited to dramatic 
expression, while the middle tones, although not 
really weak, seem comparatively to lack charac- 
ter. Slie delivers her melody simply and large- 
ly, with true power of expression, and vocalizes 
skillfully and evenly in the more florid and bra- 
vura parts. No false ornament or unnecessary 
trill marred the even beauty of the performance. 
The singer seemed a little ill at ease before her 
audience ; we doubt not she would sooner find 
herself at home upon the operatie stage. Such 
power of voice, combined with such enthusiasm 
and enterprise, and with commanding and attrac- 
tive person, seem to fit her for the Normas and 
Lucrezias of the lyric drrama ; and it is a dis- 
appointment to many that the arrangements of 
the Opera company now here did not allow of 
her appearance. For the rest, it must be remem- 
bered that Miss Chapman is but a young singer, 
and that her period of real vocal training has 
been but short. She has yet much to learn, and, 
it would seem, the will and energy to learn it. 

It is painful indeed to think that Symphony 
Concerts are not yet established as a stated, per- 
manent provision for the musii'al enjoyment and 
education of Boston. It seems really strange, 
considering how much deep and sincere love there 
is for music of Beethoven and Mendelssohn and 
Mozart. We must be thankful to Mr. Zerrahn 
for risking so much year after year, and giving us 
so much. But such concerts should, by good 
rights, come to us not half a dozen times only in 
a year, but constantly throughout most of the 
months of the whole year. We are sure tliat, if 
they could be relied upon thus steadily and fre- 
quently, they would be ■n-ell supported in the 
long run. Would it not be safer, if the risk were 
borne as a joint operation by the whole orchestra, 
or by some permanent society, instead of falling 
so heavily upon one man ? 

Orchestral Uuion. — For the eleventh time, 
this season, the Music Hall was nearly filled with 
eager audience to the Afternoon Concert on 
Wednesday. The programme was uncommonly 
inviting to the lover of the significant and real 
things in music, while if was well relished by the 
general company of old and young, thoughtful 
and light-hearted. 

1. Overture — "Leonora." No 3 Beethoven 

2. Concert Waltz — KroM'sBalkllanEe Lnmbve 

3 Symphony No. .3. (Scofchl Ops. ,^6 Mendels.sohn 

1. Andante con Moto 2. Alio, poco Atrit.ito. 3. Vivace 
non (roppo 4. .\d;igio. 5. Alio. Vivacissimo. 

4. Polka — " La Favorita." St.rau<!R 

5. Bridal Prore.^.'^ion — from ''Lohengrin." U. Wagner 

6. Overture — " *Ierry Wives of Windsor " Nicolai 

The attention with which Beethoven's Over- 
ture and Mendelssohn's Symphony were followed 
by the great mass of the audience, proved that 
such sterling works have only to be heard often to 
become ever welcome friends to hundreds, who at 
first mistrusted them as quite beyond their depth, 
too " transcendental " for their sympathies, too 
" scientific " for their understanding, too loaded 
with thought, too earnestly appealing and exact- 
ing for their brief, light hour of leisure and 
amusement. But now many, who found a Sym- 
phony as disappointing as a lecture where one 
seeks a farce, are forced to feel the magnetism of 
genius in this great form of Art ; and begin to 
learn,that that variety,v/h\^h they demand of a con- 
cert, is afforded in the perfection of artistic 
contrast and proportion, like the well-ordered 



courses of a table d' hnte. in the successive move- 
ments of a single Symphony ; at the same time 
securing that connection and unity from the 
beginning to the end, which makes it like a 
drama. 

The " Leonora " overture — the great one in 
C, the third — could not of course sound quite as 
well as in the evening concerts with the larger 
orchestra; but it was good to hear it, and it can 
hardly be heard too often. Few overtures em- 
body so much beauty, power and pathos, and lift 
the soul into so elevated a moral sphere. AVould 
that the opera (Flrlelln) could be heard here as 
often as the works of Verdi, Donizetti, and the 
rest! 

The " Scotch Symphony " takes a deeper hold 
on the imagination and the feelings with every 
hearing. It is the greatest instrumental work of 
Mendelssohn, exceedingly close to nature in the 
wild, northern, misty seashore suggestions of its 
subject, most poetically conceived, and wrought 
out with consummate art. What contrast here, 
between the religious, melancholy musing of the 
Adagio, and the smart, pujuvnt brightness of the 
Scherzo (Vhmcennn troppn) I The rendering 
by the orchestra was worthy of no small praise. 

The " Merry Wives " was a good thing to 
repeat for a light overture. The " Bridal Pro- 
ccs.sion " is one of the best specimens of Lnhen- 
f/rin and of Wagner. The concert waltz trans- 
ports any one, who knows Berlin, back to Kroll's 
magical palace of entertainment in the Thiergar- 
ten, and is one of our orchestra's happiest 
achievements always in this line. 



H'ew Opera Boulfe. 

It gives us real giatification to record the complete 
success of the la<!t novelty at the Boston Mu.seum, 
and the first original production of the kind in Bos- 
ton, the comic Operetta " The Doctor of Alcantara," 
which has been sung and acted to delighted audiences 
every evening this week. The musical facilities of 
that very popular place of entertainment, it is true, 
never have been great. Drama, especially light 
comedy, and spectacle, have been its specialities. A 
more admirable company for those things, than it has 
presented for years, with Warren " the only " at 
the head, is scarcely anywhere surpassed. No popu- 
larity has kept on for years — decades we might say — 
so unfailing. A great public benefactor has the Mu- 
seum been, a great cheerer of care-worn minds, a great 
minister of innocent excitements, and nurse of the 
imaginative instinct in child en. But the players have 
not (except incidentally) been singers, and the or- 
chestra has been necessarily kept within very econ- 
omical limits, to keep the pleasures of the place with- 
in the means of everybody. Still the idea has fre- 
quently suggested itself — especially since an accom- 
plished musician and composer, Mr. Jdlius EicH- 
BERG, has occupied the~ place of musical director — 
that something lyrical and light miglit be adapted 
even to those small musical means, and serve to de- 
velope them, while it would furnish a new and very 
amusing .and refined pleasure to the public. The 
light buffo operas, musical farces, &c., of the Opei-if 
Comique in Paris, of so many smaller theatres in 
Italy and Germany, miglit thrive well here — wdiy 
not '! Only they would have to bo specially adapted, 
perhaps .specially compo.sed, tor our publics and our 
theatres. The Museum has happily taken the lead, 
and given out of its own resources, without borrow- 
ing from abroad, a fresh and sparkling operetta, the 
nuisic of which is written by Mr. Eichberg, the 
Director, and the libretto by Mr.BsNjAMiN Edward 
WooLF, a member of the orchestra. 



BOSTON, SATURDAY, APRIL 12, 186 2. 



15 



The plot abounds in most amusing situations,ancl is 
very clever, except for the abrupt conclusion. The 
dialogue, as in most such things in Europe, is in 
large part musical, but partly spoken. The transi- 
tions from one to the other are naturally effected in 
this case. Of Mr. Eichberg's music it is some praise 
to say, that it is best wherever the situations are most 
complicated. The single songs or airs, which occur 
chiefly in the first part, are the least striking and orig- 
inal pieces in the work, although they all liave charm 
and fitness. Some of them sound rather English and 
Museum-like, .'ifter the Balfe pattern ; — good ones of 
their kiad though. But in the concerted pieces, where 
divided melody and orchestral hints have play, the 
music becomes quite felicitous and charming, and 
completely interpenetrated with the comedy, so that 
the two seem as if born together, as they should. — 
The ear is taken with not a few fine points in these 
parts of the woi'k, and one can enjoy them as he 
does such things in the standard comic operas. Of 
course the composer had to have constant regard to 
the limited means, vocal and instrumental, at his dis- 
posal ; ai d the wonder is that with them he could 
do so much. Besides producing a nice little work, 
quite palatable to the musical sense, and creditable lo 
his productive talent, he seems really to have dcvel 
oped a certain serviceable amount of musical faculty 
in the Museum company, for which they have not 
hitherto had credit. It is moderate to be sure, but it 
suffices to make such light oper:is enjoyable. 

The piece has a short ovej;tiire, beginning with a 
march, which is promising enough. The scene 
throughout is in the house of Dr. Paracelsus, the 
famous quack, in Alcantara. Eirst we hear a tenor 
serenade from a boat witbont, sung by Carlos, the 
lover (Mr. W. J. Hill), which is pretty enough, 
after a common type. It is meant for Is.abella, the 
daughter (Miss Oriana Marshall), who prefers 
the unknown lover to the husband selected by her par- 
ents. Three ladies creep out from opposire corners 
of the stage, to claim the serenade — Isabella, Donna 
Lncrezia, the vain old mother (Miss AIestater), 
and Inez, the smart maid, contralto, (Miss Josephine 
Orton.) They surprise each other at t'e window, 
and the Quarrel Trio which ensues, " You saucy 
jade," is very spirited. Young mistress and maid 
each have an aria about their unhappy loves, which 
we have called Balfe i.sh. The Doctor (Mestater) 
enters, heralding the arrival of a huge basket for Inez, 
"confections'* from the candy-making lover whose 
neglect she has just complained of. The mysterious 
duettino of the lackeys, who bring it, is highly comi- 
cal, music and gesture well reflected in each other. 
The basket contains— Don Carlos, who siezes the 
first chance, when alone, to step out, meets the old 
lady and pours out his love to her (which she sup- 
poses for her) in an ardent and impatient melody, 
"I love, I love," which is quite effective. But per- 
haps the happiest solo Jn the piece is the romanza, 
which has just before been sung by Donna Lncrezia, 
"The Knight of Alcantara ;" it is charmingly Span- 
ish and characteristic. The attempt of Inez and the 
the Doctor to remove the basket to the balcony, that 
they may examine the present, and their terror at 
having dropped it over into the river, when they 
learn that there was a-man in it, makes a comical 
crescendo of the interest, which reaches its climax in 
the entrance of the Alguazil (Mr. H. Peakes), and 
posse, who delivers a telling pompous bass solo, and 
the act ends with a grand finale by the whole, whic , 
is worked up with no mean effect. 

Comical complications increase in the second act, 
when to the terror of one involuntary murder on the 
part of Inez and the Doctor is added another: the 
offering by mistake, for wine, one of the Doctor's 
poisoned draughts to Carlos, who is still about the 
house, and whom they fear to be a spy of the police, 
and would conciliate. They hide the body in a sofa, 



and then, to make bad worse, in comes Senor Bal- 
tbnzzar (Ketciium), the father of the youtli, whom 
Isabella supposes she is to be forced to marry, hut 
who turns out to be no other than her own Carlos. 
Papa will pass the night here ; but in the confusion 
tliey can offer no hospitalities ; scarcely a bed ; he 
must sleep there on the sofa — over the corpse of his 
own son ! The Quartet : "Good night, Senor Bal- 
thazar " is the most capital piece of music in the 
whole — a strange grotesque mixture of broad day- 
light humor with mysterious ghostlike terrors. It 
puts the ]ioor man into a fearfully nervous state on 
going to bed, the scene of which is indescribuhly 
comic, the orchestra (ontributing as much as the ad- 
mirable acting. The happy denouement follows 
rather abruptly, and the second finale: "Hope ever 
smiling," though brilliant, is hardly equal to that of 
the first act. 



Italian Opera. — Auber's Masniiiello — that is, a 
very unsparing abridgement of it, whicli is all that 
is ever vouclisafed to us of it by the Opera companies 
that come here — was twice presented at the Academy 
last week, on Wednesday evening and Saturday after- 
noon. The latter was considerably the best perform- 
ancr, and had the largest audience of the season. 
The well-known acts and choruses of the famous 
opera (itself so little known to us), were as fresh and 
beautiful as ever. But on the first night much of the 
chorus-singing was very careless, coarse and out Of 
tune ; it was much better done on Saturday. Two 
parts in it were finely taken ; that of Masaniello by 
Brignolt, who was in good voice and exerted him- 
self to sing the music manfully, and that of Pietro, 
which Susini made decidedly imposing. Miss 
HiNKLET showed earnestness and good dramatic 
promise in the part of Elvira. Of the other charac- 
ters the less said the better, except the silent music 
of the pretty part of the dumb gi:-l Fenella, which 
was danced and gesticulated in very graceful and 
expressive pantomime by the dark-eyed Senorita 

CUBAS. 

On Thursday, and again on Tuesday of this week, 
the popular " Martha " was very satisfactorily pre- 
sented, with Miss Kellogg, Mme. D'Angri, 
Brignoli and Susini in the chief parts. It could 
hardly fail to be well done. On Friday a new tenor, 
f cm the Havana troupe, Sig. Errani, made a fair 
impression. On Snnday evening the usual style of 
Italian Opera Sacred Concert was given in the Music 
Hall — tlie Stiibat Mater being the dish which they 
keep always ready cooked. 

Bellini's Sonnawhula was the first opera we ever 
heard (in the time of the Woods), and it still does us 
good to hear it as least once a year. That music i.9 
so fresh, spontaneous and full of real melodic 
thoughts, that pathos so genuine and true, that the 
charm does not wear out. The performance as a 
whole was good. Miss Kellogg was very winning 
as Amina ; in action natural and s-imple, while her 
fresh, penetrating and expressive voice, though limited 
in volume, rendered the music very sympathetically 
and with a high degree of execution. Brignoli is 
always admirable in the Sonnambula music, and gave 
us bis best voice and style. But the part of the 
Count Cbaritone) lacked all weight and dignity in 
Sig. Mancusi's rendering. 

The Fuvonta and Figlin del Ite(/fjimpiifo were an- 
nounced for Thursday and Friday evenings, and this 
afternoon the season will close with a "Grand Com- 
bination Matine'e," consisting of an entire opera and 
an act of La Troviatu, in which Mrs. Varian will 
sing. 

We regret to learn that Mr. Jansei^, one of the 
most valuable members of the Orpheus Glee Club, is 
about to remove to California. The loss of his rich 
basso will be deeply felt. A Complimentary Concert 
will be given to him by the "Orpheus," next Satur- 
day evening, in the Melodeon, when Schubert's 
"Song of Spirits over the Waters " will probably be 
sung once more. 



Foreign papers announce the death of Halevt, 
the eminent composer of ••La Juive " and oi;her 
operas. 

Jwsical Cffrrcspniiente. 

For Dwight^s Journal of Music 
Mr. Editor. — Will not Mr. Zerrahn or our 
Quintett Club, provide us with one or all of the 
following deliirhtful works, never yet heard here, as 
I believe. They were admirably performeil by the 
" Tonkiinstler Vcrcin " of Dresden in the winter 
of 1856-7, where I heard them and where they crea- 
ted a " furor" of enthusiasm. 

1. Septett mililaire — (C. dur. Op. 114) for Piano- 
forte, Flute, Violin, Clarinette, V'cello, Trumpet and 
Contrabass. By Hummel. 

2. Ociett—C moll, for 2 Oboes, 2 Clarinetts, 2 
Bassoons and 2 Horns. By Mozart. 

3. Or.tefl—i'E!'. dur, op. 103,) (or 2 Clarii.etts, 2 
Oboes, 2 Horns and 2 Bassoons. By Beethoven. 

Yours ever. — A. 

Pittsfield, Mass., April 10. — I send you with 
this the programme of a Chamber Concert given by 
the pupils of the Mendelssohn Musical Institute, in 
this place last evening. 

1. Rondo Britliant Kuhlan 

2. Song — "Now the dancing punbeams play," Haydn 

3. Prelude and Fogue in E major, B.ach 

4. Vocal Trio — -'La Serenade dep Anges." Concone 

5. Lied ohne Worte. I.eiv. 3, No. 3, Blendelspotin 

6 Song — "-\ve Maria," Schubert 

7. Sonata in D miijor. Op 28, Reethoveu 

8. Grand Bno Concertaute CM. von \yeber 

Movements — Alleirro — Adagio — Minuetto — 
Trio and Presto Leirgiero. 

The selection of pieces was not made "for popular 
effect," but is "a specimen of their usual studies." 
Bc'nu' given entirely by the pupils, also it was a dis 
piny of their proficiency ratlier than an exhibition of 
skill in the mechanical performance of the teachers ; 
which I think, by the way, is no evidence of ability 
to impart skill to others. 

In the vocal performances last evening the most 
noticeable features were accuracy of intonation, puri- 
ty and sweetness of portamento, and a strict rendering 
of the author's musical idea. 

The vocal trio by Concone, in the style of Cathe- 
dral mnsic, requiring firmness of voice and exactness 
of tone, was well sustained, the voices well balanced 
and harmonious. Schubert's unsurpassed song Are 
Maria was rendered by a remarkably sweet and rich 
voice, which promises much from farther cultivation, 
and from which we may expect future pleasure. The 
Lied ohne Worte by Mendelssohn, though one of the 
most difficult of execution, was so well rendered as to 
be creditable to both teacher and pupil ; as the melo- 
dy was made predominant, yet smooth .and flowing ; 
while the .accompaniment was really such, subdued 
and gracefully swelling and yielding to the expres- 
sion of the song. Beethoven's (Op. 28) Sonata Pas- 
torale is one of his best and a favorite Sonata. It 
was given with skill and expression by the performer, 
and listened to with the interest which it alw.ays in- 
spires. The grand piece of the whole however was 
the Duo by Weber, which may well take its place by 
the side of Beethoven's creations. The Adagio, so 
grand and solemn, breathing over the spirit a holy 
calmness — the Allegro, hopeful and invigorating, in- 
spiring to energetic action, and the Presto, full of 
animation, sp.irkling and brilliant, making the heart 
and pulses leap with gladness. The influence of such 
mnsic cannot be otherwise than elevating ; and culti- 
vation of a love for it a worthy object for such an In- 
stitution as the Mendelssohn. It labors persevcring- 
ly in this cause, avoiding any style of music, either 
for study or pleasure, that is trifling or unworthy, 
and endeavors to create in its pupils an ambition for 
that only which is pure and elevated. 

Acanthus. 



16 



DWIGHT'S JOURNAL OF MUSIC 



Snsifiil Intelligence. 

St. Louis, Mo. — A gentleman named "Lento," 
sends us "the first Correspondence 1 ever wrote," 
complaining of another gentleman named "Presto," 
for not writing to this Journal an account of a Com- 
plimentary Concert given on the 6th ult. to Edward 
SOBOLEWSKY, Director of the St. Louis Philhar- 
monic Society, — a gentleman, who has done much, 
it seems, "to elevate the taste and ton " of that musi- 
cal community. "Lento " is not slow in "passing 
quickly over " tlie first three numbers of the concert 
("Midsummer Night's Dream " overture, a Baritone 
Song by "Verdy," and a Flute Solo) and coming at 
once and enthusiastically to "the event of the even- 
ing," the debut of Hiss Malvine Sobolewsky — a 
young lady "gifted with every attribute which St. 
Cecilia bestows on her favorites." Having "master- 
ed " the art by "solid study," it is no wonder that 
the "perfection " and "the graceful style," with 
which she sang Handel's : "Hark, 't is the Linnet," 
won the enthusiasm of every connoisseur. She also 
sang the "Venzano Waltz," and for an encore, 
"Home, sweet home," and "Lento " never can for- 
get "the noble simplicity, the soul-comforting holi. 
ness, with which this adorable young lady sung this 
American popular song ; many were touched to 
tears ; truly it was like an act of devotion." "Len- 
to " wishes he could stop here, but is forced to add 
how well a Quartet for male voices, Krentzer's 
"Chapel," was sung ; after which brief modulation 
he must of course return once more to his key-note 
and inform us that "to hear Miss Sobolewsky was 
happiness and a foretaste of the coming Spring." — 
Other pieces given in the concert were : a Fantasia 
and variations, for piano, by Dohler, played by Pro- 
fessor Bode, who (according to "Lento ") is a better 
interpreter of Beethoven and the classics, and played 
the Concerto in C major with great effect on a for- 
mer occasion ; — a Duet from // Barbiere ; — the An- 
dante from Beethoven's 2nd Symphony, — enjoyed 
very much (which we are glad to hear "is a matter 
of course with a St. Louis audience") ; a chorus : 
"Who does awake you, ye flowers," composed by 
the Director ; a'^Violin Solo, by De Berciot, played 
"in most artist-like manner," by Dr. Fellerer. But 
Miss Sobolewsky! "Presto " has certaiuly been nap- 
ping (like the hare that raced with the turtle), to let 
"Lento " bring us this first "foretaste of the coming 
Spring " ! 

Milwaukee, Wis. — A correspondent informs us 
that the Musical Society gave their first concert for 
members on Friday evening, March 28. 

"Unfortunately, owing to the burning of Albany 
Hall, this concert had to be performed at the (so 
called) Academy of Music, a large and convenient 
hall, but built without reference to the principles of 
acoustics. W. V. Wallace's overture to ' Lorely,' 
was performed for the first time in this city. It 
pleased very much. No. 2, the duet from " Belisa- 
rio," was sung by Messrs. Jacobs (tenor), and Ros- 
enthal (baritone). They deserved ati encore, which 
was not demanded by the audience, owing undoubt- 
edly to the above-mentioned defect of the hall. The 
"Dedication" Song by Schumann, was sung by Mrs. 
Geisbekg, a favorite here, but who has been silent 
for some time. She was called out, and favored the 
audience with a light song. " The Ocean at Rest 
and Happy Voyage," by Beethoven, was given by 
the full force of the Society Mendelssohn's overture, 
" Fingal's Cave," was received quietly by the audi- 
ence, as are nearly all pieces by the orchestra. Abt's 
male chorus, " Farewell to the Fatherland," was en- 
thusiastically received, and had to be repeated. The 
best piece of the evening, however "[what better than 
''Fingal's Cave," or t!ie piece by Beethoven ?J'* was 
the Grand Duo lor two violins, by Kalliwoda, per- 



formed by Mr. Weinberg, and a pupil. They were 
interrupted by frequent bursts of applause ; and at 
the close, received an encore. The young man who 
made his first appearance on this occasion, is a dili- 
gent member of the orchestra, and bids fiir to he- 
come a credit to his teacher. The spirited finale 
from Weber's "Freischiitz" closed the evening's en- 
tertainment. Mr. Jacobs as Mar, and Mrs. Geis- 
berg as Agathe, added fresh laurels to their fame." 



Taunton, Mass. — The Bristol Co. Republican 
says : — 

"The exhibition of Mr. Soule's Singing School on 
Tuesday evening, was a very pleasant and successful 
entertainment. So large a chorus is seldom heard in 
Taunton, and one so well trained and so finely bal- 
anced is rarely heard anywhere. There is a strength 
and sublimity in a multitude of voices which cannot 
be .approached l>y a small number, be they ever so 
powerful and cultivated. A great chorus can be soft 
without l>ecoming weak, — it can be loud without de- 
generating into mere noise and screaming. We were 
particularly impressed with this on Tuesday evening. 
The effects of light and shade, of piano, crescendo and 
forte were produced with great beauty. There was a 
precision of movement, a toning down of individual 
voices so that none were over-prominent, aud a spirit 
and enthusiasm pervading the whole body of perfor- 
mers, which showed that their leader had a 'gift ' for 
his work. Our only regret was, that there was not 
more chorus singing. It was the feature of the en- 
tertainment. And in so saying we would by no 
means underrate the miscellaneous performances 
They did much credit to the performers. Mr. Dun- 
bar and Miss Dean received an encore which was 
well deserved." 



Worcester, Mass. — "Stella" (PaUaditmi) tells 
of a Charity Concert, given at Rev. Dr. Hill's church, 
on the 1st inst, 

Mr. Thayer, organist of the church, played an 
overture on themes from Roberto ; also Bach's Fngue 
No. 7, G minor, to which he gave admirable render- 
ing. In devoting himself to the study of Bach, Mr. 
Thayer is placing himself in a high rank in his pro- 
fession ; for the organist who neglects the works of 
this great tone-poet must remain unacquainted with 
the highest capacities ot the organ. Mr. Lawrence 
sang the air from the Messiah, "Thus saith the 
Lord ;" Mr. Stocking, with good expression, the 
Creation air, "In Native Worth ;" Miss Lizzie Eaton 
a beautiful air from Mozart's Idomeneo, which suited 
well-iier girlish, flute-like voice. Miss Whitinc: sang 
a recitative and air from Engedi, a difficult task for a 
singer of more experience ; but she gave it, for the 
most part, very well. Miss Whiting's example com- 
mends itself to a large class of public singers, who, 
content witii the easily-won praises of an audience, 
limit their selections to a few hackneyed, popular airs, 
never rising higher in their art than these first steps, 
never knowing what wealth of song lies above them, 
out of their reach because they will not take the trou- 
ble to attain it. 

The leading feature of the evening was De Monti's 
Mass in B fl.at, sung by the choir with excellent 
effect. It had evidently received diligent rehearsal, 
aud we are glad to learn that it will soon be repe.ated. 
It was heard in appreciative silence, receiving finally 
a burst of applause that told of the interest excited. 
It is Italian throughout ; its melodies pleasing, many 
of them beautiful ; its harmonies simple, fresh, and 
not intricate. Compared with such a work as Mo- 
z.art's Twelfth Mass, it lacks depth. Judged by itself 
alone, it is beautiful, varied with artistic gradation of 
light and shade. Portions of it are familiar through 
the service of the Episcopal church. The day is 
certainly drawing near when the best church music 
will be sung in onr Protestant as well as Catholic 
churches. 



Philadelphia. — The programme of the Saturday 
afternoon Rehearsal of the Germania Orchestra, 
March 29, was as follows : 

1. March — Homage Lumbye 

2. Overture— Pretendent (lat time). . : Kuecken 

3. Air — Don Giovanni '. Mozart 

4. Waltz— Talisman Lanuer 

5. Andantino Grazioso of Symphony Op. 5 Gade 

6. Overture — Midsummer' Night's Dream . . . .MeDdelssohn 

7. Duett — Tannhauser Wagner 

8. Carnival of Venice — burlesque Gung'l 



'ptial S^otires. 



DESCRIPTIVE LIST OF THE 
PiibliMlied by Oliver DiiHoii &■ Co. 



Vocal, with Piano AcGompaniment. 

There's a word wliosc solemn tone. 

Miss M. L. Garcia. 25 
A pleasing Song in the Italian style ; rather easy. 

Our famil}^ of States. National Hj^mn. Quartet. 15 

A fine Anthem for festival occasions or patriotic 
gatherings. 

Why then for such loving care. From 

"Ruij Bias.*' 25 

As sung by Louisa Pyne in Howard Glover's new 
and succe^ful Opera. IC is an animated and melodi- 
ous little strain, written by one who evidently knows 
what is pleasing to the generality of listeners in 
Opera-houses. 

The dying Volunteer, Song. Andrew Boyd. 25 

A touching ballad easy of execution . 
All hail to the stars and stripes. Song and Chorus 

L. 0. Emerson 25 

Founded on an incident famous in the early history 
of the war. They are the dying words of a young 
Federal volunteer who was mortally wounded in the 
Baltimore Riot. 

Maraquita. Portuguese Love Song. Hon. Mrs. 

Norton 25 

A companion to the popular Spanish Ballad " Juan- 
ita '* aud just as quaint and pretty. 



Instrumental Music. 



The Battle of Winchester. 



Chos. Grobe. 25 



A musical memorial of this brilliant victory of 
the Union arms. The main incidents of the fight are 
related in connection with the music. 

Dreams ot Childhood Waltzes. 

W. H. Montgomery. 30 

These Waltzes are much played in England, both 
by bands and amateur Pianists. They are fluently 
written, have good melodies snd do excellent service 
in the ball-room. 

Pleyel's German Hymn. Transcription. 

A. Baumhach. 35 

An arrangement for somewhat advanced players. 
The treatment of the theme is modern and brilliant, 
and the piece interesting from beginning to end. 

Whirligig Galop. J. Tenzler. 25 

A good Galop, written by a band-leader who shows 
himself perfectly at home in this kind of dance. 

Books. 

Thalberg's L'art ©u Chant. (The Art of 
Singing applied to the piano.) Handsomely 
bound in cloth. 3,00 

The piano cannot render that which is most perfect 
in the beautiful art of singing, namely, the faculty of 
prolonging sounds, but the player may overcome this 
imperfection with address and pkilL How this may 
be done, the great Player has shown in twelve Trans- 
criptions of melodies from the maeterworks of great 
composers. The melody is engraved in large notes, 
BO as to stand out and be recognized easily. They are 
■ all figured, and are as invaluable to the accomplished 
pianist as to the student, who wonld get at the root 
of the marvellous effects which Thalberg produces in 
his playing. 



BIdsic by Mail.— Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a saving- of time and expense in obtaining 
supplies. Books can also be sent at the rnte of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 





ottruat 0f 




Whole No. 524. 



BOSTON, SATURDAY, APRIL 19, 18 6 2. 



Vol. XXI. No. 3. 



Translated for this Journal. 

From Eelix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 9). 

Boltigen, August 7, 1831. 
Evening. Out there it lightens and tliunders 
terribly, and moreover rains hard ; in the moun- 
tains one learns to respect the weather. I have 
come no farther, because it would have been a 
pity to walk tlirough the lovely Simmenthal 
under an umbrella. It was a grey day, but the 
forenoon was beautifully cool for walking ; the 
valley at Saanen, and the whole route is inde- 
scribably fresh and delightful. I cannot satiate 
myself with looking at green ; I believe if I 
looked all my life long at such a hilly meadow, 
with a few reddish brown houses on it, I should 
always find the same delight in it. And the 
whole road winds along between such meadows ; 
up and down by the side of brooks. At noon in 
Zweisimmen I was in one of those immense 
Bernese houses, where every thing shines, full of 
neatness and cleanliness, all complete and pretty 
to the smallest detail. There I sent my bundle 
by the post to Interlaken, and now I shall set 
out on a regular walk through the country ; my 
night shirt in my pouch, together with brush, 
comb and sketch-book. More I do not need. 
But I am very tired, — if it only will be fine 
weather to-morrow ! 

Wimmis, the 8th, 
Wish me joy of meal times ! For the third 
time it is so stupid. I must give up my plan of 
going to Interlaken to-day, for it is not possible 
to get through. For four hours the water has 
been falling straight down, as if the clouds above 
had beeu squeezed out. The roads are as soft 
as feather beds ; of the mountains you see only 
single shreds, and those but seldom. It seemed 
to me sometimes, as if I were in the Markgraviate 
of Brandenburg ; the Simmenthal looked alto- 
gether flat. I had to button my sketch-book 
under my waistcoat, for the umbrella soon ceased 
to be any help ; and so I arrived here at dinner 
about one o'clock. I took my breakfast in the 
following place : 

[Pen sketch, dated Weissenburg, Aug. 8.] 
I drew it on the spot for you with a pen, so do 
not joke me about the genial weather. In Bolti- 
gen I had a wretched night. There was no room 
in the hotel, on account of the fair. So I had to 
go into a neighboring house. There were ver- 
min as in Italy, a ticking clock upon the wall, 
which struck all the hours with a great noise, and 
a small child that cried all the night long. I 
was actually compelled to observe the child for 
a while ; it cried in all keys ; all passions were 
expressed in it ; it was angry, then furious, then 
whining, and when it could cry no more, it 
grunted very deeply. Now tell me, anybody, 
that one ought to wish the years of childhood 
back, because children are happy ; I am con- 
vinced, that such a brat worries itself just as 



much as one of us ; has its sleepless nights too, 
its passions, and so on. This jihilosophioal re- 
flection occurred to me this morning, while I was 
sketching Weissenburg, and I wished to impart it 
to you boiling hot; but there lava Constitufiond, 
in which I read, that Casimir Perier will have 
his discharge, and much more to set one thinking; 
among other things a remarkable article about 
the cholera, which should be copied off, it is so 
absurd. The cholera is denied point blank in it; 
only a Jew has had it in Dantzig, and he got 
well. Right on top of that, a lot of Hegelianisms 
in French ; then the elections of Deputies, — O 
world ! As soon as I had read it through, I had 
to go out into the rain again, and on through the 
meadows. Really in no dream is such charming 
country to be seen, as this; even in the vilest 
weather the little churches, the multitudes of 
houses and bushes and springs look too lovely. 
And then the green, to-day it was truly in its 
element. It is still pouring out of doors, and yet 
it is long after dinner. This evening I shall not get 
farther than Spiez. I am sorrythat I shall neither 
be able to see this here, which seems to be charm- 
ingly situated, nor Spiez, which I know through 
Rosel's drawings. Here is the grand point of 
the whole Simmenthal, and hence it runs in the 
old song : 



Hintern, Nie-sen, vorn am Nie-sen, 



iisind die be-sten AI - pen -in Sie- be-thal, 

■ ■ ■ ■ /T^f- 



:d=a: 






Sie-bethal, Siebe-thal, Sie-bethal, Siebethal. 
I have sung that all this day upon the road. 
But the Siebethal has not thanked me for the 
compliment, but has kept on raining. 

Wyler. 

Evening. In Spiez we were not received ; 
there is no inn there where one can pass the 
night. So I had to come back here. I had my 
delight in the situation of Spiez ; built quite out 
into the lake upon a rock, with many little 
towers, gables and pinnacles; a palace yard with 
its orangerie ; a surly nobleman with two hunt- 
ing hounds behind him; a little church ; terraces 
with variegated flowers; it has a most lovely 
appearance. 

To-morrow I shall see it again from the other 
side, if the weather admits of seeing. To-day it 
has ponred three hours in succession ; I have got 
pretty wet on the way here. The forest streams 
are splendid in such weather; they rave and 
rage. I came over such a devil, the Kander ; it 
was utterly beside itself, leaped, and thundered, 
and foamed ; moreover it looked entirely brown, 
and the foam yellowish, and it sprinkled far and 
wide. Of the mountains only a black peak here 
and there came out of the light rain clouds ; 
they hang deeper down into the valley to-day, 



than I have ever seen them, 
beautiful ! 



Yet the day was 



Wyler, the 9th, morning. 
To-day it is still madder. It has poured all 
night, and still pours all the morning. But I 
have sent word that I shall not go on in such 
weather, and if it does not hold up, I shall still 
write this evening from Wyler. Meanwhile I 
have an opportunity to make acquaintance 
with my Swiss landlord. How naive they are ! I 
could not draw my shoes on, they were so soaked 
by the rain ; the landlady asked if I would have 
a shoeing-horn ; and when I said yes, she brought 
me a table spoon. But that will answer. And 
then they are strong politicians. Over my bed 
hangs a frightful grimace, under which stands : 
Prince Baniadofsgi. If he had not a sort of 
Polish costume, it would be difiicult to make out 
whether it was meant for a man or a woman ; 
neither from the picture nor the inscription is it 
quite clear. 

Evening, in Unterseen. 

The joke has become bitter earnest, as may 
easily happen at such a time. The storm has 
raged fearfully, done great damage, and spread 
desolation ; the people can remember no worse 
storm and rain for many years. And it all comes 
with such inconceivable rapidity. This morning 
it was merely disagreeable bad weather, and at 
noon all the bridges were gone, the passages ob- 
structed for the time ; there are land-slides on the 
the lake of Brienz, everything in uproar. I have 
just learned below, that war has been declared in 
Europe ; it looks wild and gloomy in the world 
indeed, and one must think himself happy, if he 
only has for the next moment a warm room and 
a comfortable shelter, as I have here. Early to- 
day the rain held in a moment, and I thought 
that the clouds had exhausted themselves. So I 
came away from Wyler, and at once found the 
road already much destroyed ; but it would soon 
be otherwise. The rain began again softly, and 
suddenly by nine o'clock beat down with such< 
violence, and so in a moment, that one soon per- 
ceived there must be something more than usual 
at work. I crept into a cottage which had been 
begun, in which there lay a great heap of hay, 
and made myself quite a convenient bed in the 
fragrant hay ; a soldier of the Canton, who 
wanted to go to Thun, also crept in from the 
other side, and after an hour, as it grew no bet- 
ter, we both went on in opposite directions ; I 
had to go under a roof once more in Leisingen, 
and waited a long time ; but as my things were 
in Interlaken, only two hours journey, I thought 
I would strain a point to get there, and so set out 
toward one o'clock for Interlaken. There was 
positively nothing to be seen, except the grey 
mirror of the lake ; no mountain, — seldom the 
lines of the opposite shore. The springs, which, 
as you remember, oflen run in the footpaths, had 
become streams, in which one was obliged to 
wade ; when the road ascended, the water stood 



18 



DWIGHT'S JOUENAL OP MUSIC. 



still and formed a lake. Then I had to jump 
over the wet hedges, into the boggy meadows ; 
the little boughs of trees, on which one walks 
over the brooks, lay underneath the water. Once 
I came between two such brooks, which poured 
into one another,and had to walk a long while up 
to my ankles against the stream. Moreover all 
the water is black or of chocolate brown ; it looks 
as if mere earth were flowing and leaping along 
there. From above it rained in torrents; the 
wind sometimes shook the water down from the 
wet walnut trees; the waterfalls, which go into 
the lake, thundered terribly from both shores ; — 
you could follow in the distance the brown 
streaks as they ran into the bright water of the 
lake; and, added to all that, the lake was per- 
fectly still, and scarcely moved, and quietly re- 
ceived all the roaring tumult that passed into it. 
Here a man met me, who had pulled off his 
shoes and stockings and stripped up his panta- 
loons. Then I felt rather uneasy. Presently I 
met a couple of women, who said I could not get 
through the village, the bridges were all gone. 
I asked, how far I had yet to go to reach Interla- 
ken ? A good three miles, they answered. It 
would not do to turn about ; so I went forward 
into the village. There the people cried out to 
me from the windows, that I could not go any 
farther, that the water came down too strong 
from the mountains, and actually there was al- 
ready in the middle of the village but a savage 
hospitality. The muddy stream had carried all 
away with it, ran around the houses, into the 
meadows, up the footpaths, and thundered below 
in the lake. Fortunately there was a little boat 
there ; in that I got myself taken over to Neu- 
haus, although the trip in the open boat, in the 
sharpest rain, was not sweet. My situation in 
Neuhaus was pretty miserable ; — I looked as if 
I wore top-boots over my light pantaloons : shoes, 
stockings and all were dark brown up to the 
knees; then came the real white color; then a 
soft, blue overcoat; indeed the sketch-book, 
which I had buttoned under my waistcoat, was 
wet. In such a plight I arrived at Interlaken, 
and was received unfriendilly ; the people could 
not or would not give me any place, and so I had 
to come back here to Unterseen, where I am 
lodged and feel excellent well. But it is singu- 
lar ; I had rejoiced all the way in the thought of 
coming once more into the hotel at Interlaken, 
where I could have many reminiscences ; and I 
actually drove up in my little Neuhaus wagon to 
the place of the walnut trees, and saw the well- 
known glass gallery ; the pretty landlady came 
to the door too, somewhat altered and grown 
older to be sore ; — all the bad weather and the 
inconveniences have not vexed me so much, as 
to find that I could not stay there. For the first 
time since leaving Vevay I was put out of tune 
by it for half an hour, and I had to sing Beet- 
hoven's A flat major Adagio 




-•-^•Bi»- 



f-tf 



-^:EESHE:^B 






three or four times, before I was all right 
again. Here I first learned, how much damage 
the storm had done, and may yet do, for it keeps 
on pouring. 

Evening, half-past nine. The bridge at Zwei- 
liitschinen is carried away ; the carriers fi'om 
Brienz and Grindelwald would not go home, for 



fear of some stones coming down upon their 
heads. The water here stands but a foot and a 
half below the Aar bridge ; it is indiscribable, how 
mournful the sky looks. Here I can wait the 
end of it ; and I need no environments, to call 
up recollections. In fact they have shown me 
into a chamber, where a piano stands, one made 
in the year 1794, which has in tone much resem- 
blance with the little, old Silbermann in my room, 
and so I have become fond of it with the first 
chord, and can also think of you well on it. It has 
lived through a good deal,this piano,and probably 
never dreamed that I should some day compose 
upon it, I who was only born in 1809 ; no%v that 
was a good two and twenty years ago, while the 
piano is already thirty-seven years old, and still 
bids fair long to remain fresh ! There are new 
songs under way again, dear sisters! You do 
not know my principal song in E major, " On 
the Journey ;" it is very sentimental. I am now 
making one, which will not be good, I fear ; but 
it must suit us three, for it is very well meant ; 
the text is by Goethe, but I do not say what ; it 
is too absurd to compose just that; nor is it suit- 
able for music ; but I found it so heavenly beau- 
tiful, that I could not help singing it to myself. 
For to-day I have done. Good night, you dear 
ones ! 

The 10th. 
To-day it has been the clearest weather, and 
the storm is past. Would that it might end so 
quickly with all storms, and clear up ! I have 
passed a glorious day, have sketched, composed, 
and drunk air. In the afternoon I was on horse- 
back in Interlaken ; ■ — no man can go there now 
on foot ; the whole way now stands under water, 
eo that even on horseback one gets very wet. 
Here in this place too the streets are overflooded 
and shut up ; but it is too beautiful at Interlak- 
en ! One really feels too small when he sees 
how glorious the,good God has made the world; 
and more glorious than it is here, one cannot see 
it. 

I drew for father one of the walnut trees, of 
which he is so fond ; and some day I mean to 
make a faithful drawing of a regular Bernese 
house for him. A troop of people, men, women 
and children, walked by, and gazed at me ; I 
thought they had it now, as I had yesterday, and 
I should have liked to call out and remind them 
of it ! In the evening the snow mountains glow- 
ed in the clearest outline and most beautiful 
colors. When I came back, I wanted some music 
paper ; they referred me to the pastor, — he to 
the ranger, and from his daughter I have obtain- 
ed two very fine, handsome sheets. The song, 
of which I wrote yesterday, is already finished ; 
it breaks my heart though,to tell you what it is — 
but do not laugh at me too much — it is nothing 
else than — but don't suspect me of hydrophobia 
— the sonnet " Die Liehende schreibl."* I fear, 
however, it is good for nothing ; there is more 
feeling put into it, I fear, than there comes out 
of it ; yet there are a few good passages in it, 
and to-morrow I shall make another little one 
from Uhland. Also one or two things for the 
piano are progressing again. Unfortunately I 
am quite unable to judge of my new thinirs, — 
don't know whether they are good or bad ; and 
that comes from the fact, that for a year past 
everybody to whom I play anything of mine, 

*In the set of songs Op. 36 ; among the posthumous works 
op. 15. 



roundly declares it wonderfully fine, and that 
amounts to nothing ! I wish there was some one 
who could cut me up intelligently, or, what 
were still finer, who could praise me intelligently ; 
then I should not always want to do it myself, 
and be mistrustful of myself. Meanwhile one 
must still keep writing on. 

Of the ranger I have just learned, that the 
whole land is desolated ; sad reports come in 
from all sides. The bridges in the Hasli-thal are 
all gone; houses and cottages too; a man arriv- 
ed here to-day from Lauterbrunnen, who had to 
walk up to his breast in water; the carriage 
road is ruined, and, what to me was very omin- 
ous, the report is, that the Kander has washed 
down a mass of furniture and house utensils, 
from no one knows where. Fortunately the 
water is already sinking again, but the mischief 
will not be so speedily repaired. It has made 
my travelling plan again uncertain ; for if there 
is danger, I shall not go into the mountains. 

The nth. 
And herewith I close my first batch of diary 
to you, and send it olf. To-morrow I begin a 
new one, for to-morrow I think of going to 
Lauterbrunner. The way is practicable for 
foot passengers ; there is no talk of danger ; 
travellers have already come from there to-day ; 
but for carriages the road will not be passable 
again this year. Then I will go over the little 
Scheideck to Grindelwald ; over the great Schei- 
deck to Jleiringen ; over the Furca and the 
Grimsel to Altorf ; and so on to Lucerne, storm, 
rain and all the rest, i. e., God willing. Early 
this morning I was on the Harder, and saw the 
mountains in all their glory ; never yet have I 
seen the Jungfrau glowing so clear, as last 
evening and this morning. Then I rode again 
to Interlaken, where I finished drawing ray nut 
tree ; then 1 have composed a little ; then three 
waltzes were written on the rest of the music 
paper for the ranger's daughtei-, and courteously 
presented ; and just now I come from a water 
excursion, which I have made to an inundated 
reading room, to see what the Poles are about. 
But unfortunately there is not a word about them 
in the newspapers. Now I will pack until even- 
ing ; but it is really hard for me to leave this room 
here ; it is so cozy, and my dear little piano I 
shall miss very much. I will paint you the view 
from my window with my pen on the other side 
of the sheet, and write down my second song 
then Unterseen too will pass into the world of 
memory. Ah, how rapidly ! I quote myself; 
that is not very modest, but the thought occurs 
to one only too often now, when the days are 
shortening, when one opens the travelling map at 
one page and another, and when first Weimar, 
then Blunich, then Vienna falls a year behind ! 

Well here is my window ! 

[Pen sketch.] 

An hnvr later. The plan is changed, and I 
remain till day after to-morrow. The people 
think the roads will then be decidedly better, and 
there is still enough here to see and to draw. 

The Aar has not stood so high for 70 years. 
To-day they watched upon the bridge with poles 
and hooks, to fish up single pieces of bridges 
that have been carried away. It was a strange 
sight, when such a black looking thing came 
floating out from the distant mountains, and was 
finally recognized as a piece of railing, or a 



BOSTON, SATURDAY, APRIL 19, 18 6 2. 



crossbeam, or something of the sort, to s^e how 
they all ran together and hooked away at it, 
until they drasjued the monster out of the water. 
But enough of water, i. e., enough of diary. It 
is now evening and has grown dark, — I write by 
candle-light, and should like right well to knock 
at your door and seat myself at the round table 
with you. It is the old story again : wherever it 
is most bright and beautiful, and where I feel 
right well and comfortable, there I fir.st feel the 
want of you, and there I would best like to be 
with you. But who knows, if we shall not come 
here together one of these years, and then think 
of to-day, as we now think of that former time I 
But since no one knows that, T will not muse 
upon it any longer, but will write out my song, 
gaze a little more at the mountains, wish you all 
joy and happiness, and shut up my journal. 

Felix. 

(To be contiDued.) 



For Dwight's Journal of Music. 

A Genealogical Disquisition, 

WHICH LEAVES EVERYTHING AT LOOSE ENDS. 

It would be a poor compliment to any reader 
of the musical journals, to suppose him ignorant 
of the name of Bondini — the operatic director 
for whom Mozart wrote Don Juan, and whose 
daughter, Teresa, was the original Zerlina. So 
much we find in Holmes' Life of Mozart. This 
Bondini was a native of Bologna, " a sharp sight- 
ed man, rich in knowledge of theatrical affairs," 
who opened the " small court theatre " in Dres- 
den with an Italian operatic company in Septem- 
ber, 1776, — according to another authority. How 
Bondini extended his operations until he was sup- 
plying Dresden, Leipsic and Prague alternately 
with some months of opera annually, and spar- 
ing no expense to obtain the best of singers and 
instrumental performers — what he effected in 
Prague, Holmes tells us — and the best actors 
for his German theatre, and much more to the 
same effect is not necessary for our present gen- 
ealogical purpose. At Easter, 1791, Count 
Thun's theatre in Prague, in which Mozart's 
masterpieces were played and where Don Juan 
first saw the light (of the foot lamps), was de- 
stroyed by fire, "ruined by which," says Fetis, 
(in his notice of Bondini's daughter in the new 
edition of his " Musiciens") " he determined to 
return to Italy, where he hoped to find resources 
to re-establish his afiEairs ; but he died on the 
journey, and his family, reduced to a most pain- 
ful condition, was hardly able to reach Bologna." 
All this may be very true, but unfortunately, 
Fetis is so sadly untrustworthj' on all matters be- 
longing beyond the "natural boundary," that the 
following remark in the " Allgemeines Theater 
Lexicon" (article Leipzig) has in my mind equal 
authority: "On the death of Bondini in 1796, 
Franz Seconda obtained the license" (of the 
Leipzig theatre). The only importance the mat- 
ter has, is in its effect upon the question where 
an^ when his second daughter obtained her early 
musical education. 

Terese Bondini's name appears in the list of 
Court-singers at Dresden as early as 1782. She 
may therefore have been some twenty years of 
age, when she sang Zerlina at Prague,and Mozart 
taught her how to shriek. 

Marie Anne, the other daughter referred to, 
was born at Dresden, Oct. 18, 1780, and accord- 
ing to Fetis was, at the age of ten years, already 



a line pianist and residing in Bologna, where she 
was taught singing by Sartorini ; — but this con- 
flicts with the " Theater Lexicon." A plague o' 
both their houses ! However, the Bondinis dis- 
appear from my books until 1805, in which year 
Marie Anne comes to light again, in Paris, as the 
wife of Luigi Barilli. 

This man, says Fetis, was born at Modena in 
176 7, (ir at Naples in 1764, which latter date he 
thinks the more probable ; but the Paris corres- 
pondents of the Tjcip. Allq. Zeitunfj always speak 
of him as a native of Bologna, and the notice of 
his death implies, at least, that 1768 was the date 
of his birth. Barili's first appearance in Paris 
was at the theatre Louvais, Aug. 19,1805. His 
voice was feeble and not very pleasing; but his 
method was excellent and his comic powers ex- 
traordinary. Fetis says : " Pendant phis de dix- 
huit ans Barilli eut le privilege de /aire rire les 
dilettanti Parhiens, quoique son organ eut perdu 
de sonorile dans les dernieres annees." In 1809 
he became one of the four directors of the Italian 
Opera at the Odeon, but sustained such heavy 
losses as to be glad to accept a humbler position, 
when that theatre was taken by Mad. Catalani. 
He lost his wife (in 1813) and three sons, -whom 
she had borne him (Fetis) ; became Regisseur of 
the Italian Opera in 1820, broke his leg early in 
1824 and died of appoplexy, May 26, the same 
year. 

"The probity and disinterestedness of this ex- 
cellent actor had gained him many friends, who 
were obliged to contribute to pay the expenses 
of his funeral and who erected a tomb for him 
near that of his wife in the East Cemetery." — 
(Fetis). 

" On the 26th May last died Herr Barilli of 
Bologna, Regisseur of the Italian theatre, in his 
56th year. An excellent man ! During the 19 
years of his residence here he appeared in 98 
different operas and always with credit. His 
parts were Figaro, Leporello, Geronimo in the 
Matrimonio Segreto, and the like. In the last of 
these he was, to perfection, the right man in the 
right place. His essential excellence was his cor- 
rect declamation, so much the more praiseworthy 
because now so seldom heard." — (^Paris Corr. of 
the Leip. Allg. Zeilung, 1824.) 

Upon arriving in Paris (1805^ Marie Anne 
(Bondini) Barili sang with great applause in 
concerts, and it was not until Jan. 14, 1807, that 
the directors of the theatre Louvais could per- 
suade her to overcome her timidity and venture 
upon the stage. The opera was Guglielmi's 
"Due Gemelli." She was struck with stage fright 
and broke down; but on the 13th of May, she 
tried a second time, in Paer's ^'■Griselda" and 
with complete success. From this time to her 
death she was the idol of the Paris Italian Opera 
public, as well as chamber singer to Napoleon — 
a distinction, which she owed entirely to her art, 
her virtue being incorruptible. 

A contemporary notice or two of her may be 
of interest. Here is one dated Oct. 1809, 
contained in a notice of the Paris Italian Opera 
of the preceding summer. A Madame Festa 
had been singing on the stage as prima donna in 
Paisiello's "Motlinara," alternately with Mad. 
Barilli in Sarti's "Nozze di Dorina.'' 

"Mad. Festa first appeared as the Mollinara 
and with great success, her skill gaining her a 
multitude of admirers. Mad. Barilli,* who had 
withdrawn for a time to give her rival and her 



rival's admirers free play and then to re-appear 
with all the more success, made the fortune of 
Sarti's opera. There followed something of a 
rivalry, by which, however, the public was a 
gainer." After criticizing Sarti's work severely, 
the writer goes on : " the duet in the first act is 
usually repeated, in which Mad. Barilli has a 
grand opportunity to exhibit all her force, espe- 
cially her power of execution. This songstress, 
then, possesses — it is true, not a grand all-per- 
vading voice — but one of remarkable compass. 
She sings with ease up to 



and 



I 



lEL 



"It is impossible to convey to you an idea of the 
perfection with which she executes whatever she 
bestows pains upon. She can go on for a quarter 
of an hour, executing the most difficult passages 
and divisions, with never a note false, nay, with 
never one indistinct or faltering. Hence her 
special triumph is in bravura singing. Her runs 
up and down are as neat as if executed upon a 
flute. All the more pity therefore that Mad. B. 
sings with neither warmth nor expression. The 
color is always the same, and her soul has not the 
slightest sympathy with any words she sings. 
Hence a feeling of monotony when one hears her 
much and often. She will always gain applause, 
but never excite enthusiasm. She, howevor, 
soars so far above all the French songstresses, that 
it would be nonsense to cempare her with any 
one of them. She has also the advantage of be- 
ing the wife of the best actor in this theatre and 
can therefore devote any amount of care to 
securing a perfect ensemble. Herr Barilli has 
a fair tenor voice, not very sympathetic, but by 
his good method and by the drollery of his al- 
most extravagant buffoonery — allowed however 
in comic opera — he has an important share in 
keeping up and giving life to the theatre." 

Mad. Barilli's great parts were in Mozart's 
operas. Was this owing to the influence of her 
early life in Dresden and Prague ? Doubtless ; 
and the daughter of a man, who had sense 
enough to order Don Juan from Mozart, may 
well be supposed to have learned to sing that 
music as it should be sung. Her greatest triumph 
was the Countess in Figaro's Hochzeit, and for 
many years after her death, no songstress ven- 
tured to brave the public of the Odeon, by at- 
tempting any innovation upon her style of per- 
formance, or even in her exquisitely tasteful 
toilette for the part — as it was then considered. 
This part was held to be especially adapted to 
her powers, because of that very boldness for 
which she was criticized in some others. As late 
as 1820, a writer describes this as being the most 
laborious soprano part — i. e. as she sang it — then 
known. Besides the two grand airs written by 
Mozart for the Countess, she introduced a third 
(by Simon Mayr ?) and adopted the romance 
" Voi chi sapele ;" the duet with Susanna was not 
so much sung, as executed in nightingale tones. 
This in addition to the great compass of voice, 
and the great amount of vocalization in the 
second and fourth Finales— justifies that writer's 
opinion. 

In 1813, after a long and severe illness, she ap- 
peared three times in an opera of Portogallo, was 
then siezed by a malignant fever and died Oct. 
24th. 



20 



DWIGHT'S JOURNAL OP MUSIC. 



The Hannonicon (II. p. 73) has the foUowino; 
in its Paris news, dated March 13, 1824. 

"A sort of fatality attends poor Barilli. an 
excellent man and much esteemed by the public. 
He lost his wife in the flower of her youth and 
beauty. Mad. Barilli was known to all Europe 
for the true and enchanting manner in which she 
sang the principal parts in Mozart's divine operas- 
His son was ravished from him by a cruel mala- 
dy ; some months ago a fraudulent bankrupt (now 
in London) [Bochsa?] robbed him of all the 
fruits of his industry and economy, and very re- 
cently he has had the misfortune to break his lea;. 
[This was by a fall in the theatre]. The admin- 
istration of the Theatre Italien, as a proof of 
their esteem and of their gratitude -for bis past 
services, have determined to give him a free 
benefit on the 21st of this month." 

Here is a very " loose end " in my genealogi- 
cal web. For I have no means of determining 
■what, if any, family connection there was be- 
tween the Barillis and a certain Caterina Barili 
— the name has lost an / — who sang Romeo in 
Bellini's '■ CapuleUi" to Virginia Wanderer's 
Juliet, in Crema in 1833 and was called out by 
the audience. I trace her afterwards as prima 
donna, appearing successively at Crema, Odessa, 
Florence, Rome, Naples, Milan, Lisbon, Cadiz, 
Seville, Madrid, and in 1842 in Piaoenza, where 
during the Carnival, as we read in the Leipzig 
Allr/. Zeitung" "For her benefit the Barili 
(Caterina) gave Norma, in which her daughter 
Clothilde sang the Adalgisa." 

Now from 1834 on, you will find that wher- 
ever the Barili is prima donna, the tenor Palti 
is sure to be included in the company, and from 
1842 she assumes the name Barili-Patti. 

Notices of her at Cremona,Vincenza, Vercelli, 
Como and Crema bring us down to the Carnival 
of 1846, when she disappears from the musical 
journals which I have at hand. 

In 1844 the prima donna, in the Carnival 
operas at Cremona, was a songstress, very much 
praised, especially as Lucia and Alice (in "Robert 
the Devil") by the name of Truffi. Very soon 
after, she appears as Barili-Truffi and sings suc- 
cessively in Bergamo, Trieste, Rome and Turin, 
•which brings us to 1847. 

And now why this long story made up out of 
old journals and about persons of no interest to 
us V Because they may perhaps be ot interest 
to us — and for the reason — that according to 
the best of my knowledge and belief, the Cater- 
ina Barili-Patti, above named, was the mother of 
Adelina Patti. I cannot prove this from any 
authorities at hand, nor can I show that she has 
the hereditary right — so to speak — to be a great 
artist as the descendent of the Paris Barillis and 
the Dresden and Prague Bondinis. But the pro- 
babilities are in favor of the hypothesis, and the 
young songstress has already taken a place in 
the world of art, which renders it an interesting 
question, whether she is not another instance of 
family talent descending through several genera- 
tions and at length culminating in genius. If the 
surmises be correct, " Trovator," in his letter to 
Dwight's Journal., published Dec. 3, 1859, would 
seem to be mistaken in placing the date of the 
advent of the then infant Adelina at New York 
in 1844. If the Madrid prima donna of April 
8, 1843, was the mother, this is conclusive on that 
point — for the following syllogism. Feb. 1, 1843, 



the theatre del Circo in Madrid opened its spring 
"stagione " with Donizetti's Marino Fnliero, 
Caterina Barili-Patti as prima donna ^ with 
great applause. (L. M. ZeiUing. XLV., p. 483.) 
In the Carnival of 184G, she sang at Crema. 
L. M. Z., XLVII., p. 880.] Therefore she could 
not have been in New York. — Q. E. D. 

" Trovator," you are called upon to gather up 
the family traditions, to search the Italian chroni- 
cles, to write the book of Genesis (of Patti), to 
give us the true history of the Exodus from Eu- 
rope, the Advent in Ameri(^a, and the Acts of 
those singing apostles who have played as im- 
portant a part in spreading in the United States, 
what you, it .is true, place rather higher as the 
true musical gospel than I do. 

I suppose any file of New York papers from 
1844 to 1847 will decide some of the questions 
at issue. A. AV. T. 

* By a typographical error the Barillis in the letter from 
which I quote are called Basilli. 



The Great Triennial Handel Festival at 
the Crystal Palace, in 1862. 

(From the Pamphlet Programme of the Directors.) 

Third Extract. 

In connection with the subject of the proper di.'itri- 
bution of the several parts of this great Orchestra, 
must he placed foremof.t, as a matter of importance, 
the ah.solute neces.sity for employing those artditional 
winrl instruments of various timbre which are wantina; 
in Handel's scores, but are so imperatively demanrlod 
hy ears accustomed to modern instrumentation. This 
Mr. Costa has thoroughly accomplished hy the addi- 
tional accompaniments written expresslv for these 
Festivals. It would be a work of sunerero^.ttion here 
to dilate upon the ffeueral value of Mr. Costa's as.so- 
ciation with the Handel Festivals. It has been ex- 
perienced and acknowledged hy the thousands who 
have had the Eood fortune to profit by his trainine 
and guidance ; by many tens of thousands of delight- 
ed auditors. Mr. Costa's services in executive mu- 
sical aft, Avhich, durins; the last quarter of a century, 
have made "Costa's Orchestra " the irreat Orchestra 
of Europe, are cheerfully and nngrudgingly acknow- 
ledffcd by every musician and critic. To say one 
word here on these subjects would be wholly out of 
place. Not so, however, as retrards the importance 
of Mr. Costa's labors in placing Handel's crand con- 
ceptions before the public at these great Festivals 
with all the modern .advantages and improvements in 
orchestr.al arrangement; with all those additional 
means and appliances which become so indispensable 
with the largely increased Orchestras of the present 
day. Those only who watch closely the progress 
and the workings of these undertakings, can fully 
appreciate his arduous hut unobtrusive labors ; and 
if the name of Mozart has become indis.soluhly asso- 
ciated with the performances of the "Messiah," so 
assuredly in all future great musical celebrations will 
the additional accompaniments of Mr. Costa to "Is- 
rael," "Judas," "Samson," "Solomon," "Deborah," 
the "Te Deum," and other great works of Handel, 
bo as honorably associated and sought after. 

It is hardly requisite upon the piesent occasion to 
enter at length upon the mode to be adopted for se- 
lecting the large mass of performers required for the 
Festival. It is sufficient to state, that with a very 
large body of Amateur Choralists in regular training 
in the Metropolis, and with applications beyond pre- 
cedent for admission thereto ; with a great numerical 
increase in the number of duly qualified Provincial 
Chorus Singers, and with a much wider range for 
selection from this and other countries, for Instru- 
mental as well as Choral Performers, than on previ- 
ous occasions, the general class of performers must, 
tvith even ordinary care, be much more effective than 
heretofore. 

But when to this we add the knowdcdge which the 
Superintendents of the Orchestra have already gained 
of those under their control, and the advantages 
which will arise from the information acquired in the 
selection and practice of the performers at the open- 
ing of the International Exhibition — the whole of 
whom, under Mr. Costa's direction, will be managed 
by the same Superintendents — and when we further 
couple with this the large choice of performers now 
available from both town and country, affording in- 
creased opportunity for insisting upon the most regu- 
lar and exact attendances at rehearsals, there can be 



no question that a marked advance will be ajDpareut 
in the musical efficiency of the performers genera lly. 
It need scarcely he said, that the system of number- 
ing the place of each person in the Orchestra will he 
adopted. Another great advantage arises from the 
atnple supply of music hooks, provided expressly and 
solely for tiicse Festivals, and which, imder the watch- 
ful eye of the Conductor, are constantly receiving 
fi'csh marks of expression and correction. Stress 
may with reason belaid on this last-named advan- 
tage ; on no occasion of even a moderate Festival 
has this requirement been so well studied as at the 
Himdel Festivals : and although it has only been ac- 
complished by great outlay and die most minute 
watclifniucss, both the money and the time have been 
well expended. 

These apparently minor points are dwelt upon be- 
cause it hut too often happens that large numbers of 
persons are assembled for musical displays without 
that complete organization winch is to the full as ne- 
cessary in an Orchestra as in an army. Under such 
circumstances, increased numbers can only produce 
increased confusion. From the first projection of the 
Handel Festival, the extreme of regularity has been 
insisted upon : unless that regularity had been ad- 
hered to, it is well known these Festivals would not 
have enjoyed the advantage of Mr. Costa's co-ope- 
ration. "The Committee of the Sacred Harmonic 
Society have practised this order and regularity 
through a long series of years in all their musical 
undertakings, and to their experience and co-opera- 
tion much of the superiority of the Handel Festivals 
is to be .ascribed ; and the public may have every 
confidence that the co-operation hetween the Crystal 
Palace Company, the Society, and Mr. Costa, which 
produced such triumphs in 1857 and 1859, will not 
fail to make the Triennial Handel Festiv.al of 1862 
worthy in all respects of the occasion on which it is 
held, and a fit successor of its great precursors. 

It has been considered that it would prove interest- 
ing to the public, and he a valuable record of the 
great advance of musical executive art, if an exact 
model — to scale — of the Great Orchestra, as it will he 
arranged for the 1862 Festival, with tlie performers 
in their places, were prepared for exhibition at the 
International Exhibition of 1862. For this model — 
which is being prepared at a cost of several hundred 
pounds — the Commissioners have granted a promi- 
nent situation, and it will he on exhibition from and 
after the 1st of May. As before stated, the period of 
a London International Exhibition is one during 
which it is imperative that Choral Music should 
he represented in its most complete form. It is 
felt to be a specialty in which England excels ; there- 
fore it is most desirable that at such a time its best 
efforts should be put forward. The desire of the 
Royal Commissioners of 1862 to associate music 
with the other Fine Arts, at the Exhibition, was ex- 
pressed at an early date. Sulisequent consideration, 
however, led to the wise conclusion, that, except on 
ceremonial occasions, the Musical Art was more like- 
ly to be well represented hy private enterprise than 
through any efforts of the Commissioners themselves 
at the Exhibition. 

It remains only to state the arrangements of the 
forthcoming Festival. There will be 

three DATS performances. 

Monday, June 23rd — Messiah. 
Wednesday, June 25th — Selection. 
Friday, June 27th — Israel in Egypt. 

The selection for the .second day has not been fin- 
ally arranged, but opportunity will be taken to intro- 
duce some of the most massive of Handel's Chorus- 
es, as well as others of a lighter character, m addition 
to a variety of the most celebrated Solo and Concert- 
ed Pieces. It may he stated generally that it will 
comprise portions of the "Dettingen Te Deum " 
(which produced such great effect in 1859), short se- 
lections from "Saul," "Judas Maccahteus," "Sam- 
son," &c. It has also been decided that in the second 
part of this day's performance, the arrangement of ' 
the Chorus shall he changed, so as to admit of the | 
performance of a few of Handel's great Double Cho- ' 
ruses, such, for instance, as '^Immortal Lord,^^ from ' 
"Deborah ;" "From the Censer," and the fine drama- 
tic scries known as "The Passions," from "Solomon." I 
In this manner a very great variety and interest will 
be imparted to the "Selection " day. y 

The performance of the "Messiah " and "Israel 1 
in Egypt " must be looked for as a matter of course. 
Even if the Directors of the Festival had the incli- 
nation to substitute other works of Handel, the pub- I 
lie voice would be against them, for no Festival can 
he complete in England without "Messiah " — while ( 
no such opportunity as the present can offer itself for ' 
displaying the magnificence of "Israel in Egypt." 
With such limitations of selection, this Festival, 
therefore, must be regarded, notwithstanding those 



BOSTON, SATURDAY, APRIL 19, 18 6 2. 



21 



which have preceded it, as aiminj^ at the most com- 
plete AND EFFICIENT PERFOKMANCE OX' HaN- 

del's Master works, which has ever been 
witnessed. 



Death of Halevy, the Composer. 

(Prom the Evening Post, N. Y.) 

Among the foieif;n intelligence broiin;ht l)y the last 
steamer is the annonncement of the death at Nice, 
where lio had lieen spending the winter, of Jaques 
Francois Fromental Elie Hale'vy, the celebrated 
composer. He was born in Paris in May, 1799, and 
studied music under the illustrious Clierubini. His 
first opera was "L'Artisan," but his greatest, and 
that on which his reputation will chiefly rest, is "La 
Juive," which was produced at Paris in 1835, has 
been played in that city over four hundred times, and 
is one of the standard operas of the lyrical repertoire. 
It was given in English in this country many years 
ago, but made familiar to the present generation of 
New York opera-goers by the performance, a few 
seasons since, of Stigelli, Madame Fabbri and Carl 
Formes at the Academy of Music and Winter Gar- 
den, and later by Stigelli and Colson at the Academy. 
Replete with dramatic combinations, and by no 
means destitute of delicious melody, it is acknowl- 
edged by amateurs here as elsewhere to be a work 
■worthy of its high place in the list of truly grand 
operas. 

Hale'vy has been a prolific composer, and among 
the operas he has written for the French stage, are 
"La Eeine de Chypre," "Charles A''!.," "Mousque- 
taires de la Eeine," (the next in popularity to "La 
Juive,") "La Fee aux Roses," "La Terapesta," (on 
Shakspeare's Tempest,) "Le Juif Errant," and 
"Valentine I)' Aubigne." His latest work was "La 
Magicienne," produced at the Grand Opera, in 1858. 
At the time of his death he was a Professor of com- 
position at the Conservatoire, and Secretary of the 
Academy of Fine Arts. 

Halevy's operas may be termed heavy. They 
need spectacular elTect of the most elaborate order to 
■please the public, but the musical student on exam- 
ining and studying the score will discover beauties of 
melody and treasures of harmony which cannot fail 
to delight. As a march, there are few grander than 
that in the first act of "La Juive," and few tenor 
scenas equal lo that in the fourth act. 

Hale'vy belongs to the grand school of composers 
of the la.st generation, who find as yet no rival in the 
atfections of the music lover, excepting to a limited 
degree in Verdi. Of his old contemporaries, Doni- 
zetti and Bellini are long since dead : Pacini has so 
outlived his fame as to he dead to ail out of Italy ; 
Mer a lan;e still lives at Naples, and the octogenarian 
Auher even yet writes charming operas at Paris; 
Meyerbeer busies himself .it Berlin, and Rossini en- 
joys a quiet old age in the French capital, where, by 
the way, the loss of Halevy will be the most severely 
felt. 



(From the London Musical 'World.) 

Jacques Elie Fromental Hale'vy, the celebrated 
composer, has just died at Nice, after a brief but se- 
vere illness. He was born at Paris, May 27, 1799, 
of Israelitish parents, whose name was originally 
Levy. In 1809, he entered the Conservatoire, and 
received from Cazot lessons in solfeggio, and in 1810 
made rapid progress on the piano under Charles 
Lambert. In 1811 he became a pupil of Berton, 
and studied counterpoint for five years under Clieru- 
bini. He obtained, in 1819, the great composition 
prize for his cantata of Hermione ; and the next year 
he was charged with writing the music of a "De Pro- 
fundis" on the death of the Duke de Berri. He 
passed two' years in Italy at the expense of the Gov- 
firnment, and wrote Les Doherniennes, Pi/c/iimlioii, and 
Les Deux Pavilions (which did not a|ipear), about this 
time. Five years later, in 1827, he published Phidi- 
as, and subsequently L' Artisan, a comic opera in one 
act; and the next year he first became known by the 
piece de circonstance which he wrote, in conjunction 
with RiflFant, for the fete of Charles X., called Le 
Boi et le Batelier. In 1829 appeared Claris, a five- 
act opera, with a part for Malibran ; and subsequent- 
ly, with alternations of success and failure, Le Uilet- 
latited' Avignon (very popular), M/non I^escimt (bal- 
let in three acts). La Lain/ue Musieale (in conjunction 
with M. C. Gide), La tentation, and Les Souvenirs 
de Lafleur, which latter was written for the return of 
Martin to the Opcjra Comique. Halevy's great work. 
La Juive, appeared in 1835. This opera, combining 
his finest style, his best talent, and all the richness of 
his instrumentation, has been played in all the thea- 
tres of Europe. He receiied the Legion of Honor 
for this work. His subsequent compositions are too 
numerous to be alluded to at length. Among them 



may be mentioned Guido et Givevra. ; on, la Pesfe de 
Florence (1838); L'Eclair (comic), very favorably 
received on its appearance in 1838; Le Guitarero, 
comic opera in three acts (1841); Cliarles VI. 
(1842); La Reine de Chi/pre {\Si2) ; Les ilousque- 
taires de la Reine (1846) ; ie Vcd d'Andorre (1848) ; 
Le Nabob (1853) ; La Tempele, gorgeously produced 
in London, and written expressly for Her Mjijesty's 
Theatre; Le Juif Errant (1855); Valentine d'Aii- 
bir/ne {\^^G) ; Tai Maf/icienne (1858); La /Ve aux 
lioses, &c. Halevy is author of a great quantity of 
fugitive jjieces of all sorts. He has been extolled by 
his admirers as "most skilful in musical science, in- 
timately versed in fngue, in counterpoint, choral and 
orchestral writing." Whether this be exactly true 
or not, all his works are conscientiously executed, his 
style combining the peculiarities of the French and 
German schools. He had been professor at the Con- 
servatoire since 1833, member of the Academie dos 
Beaux Arts since 1836 (succeeding to Reicha), and 
perpetual Secretary of the Academy since the death 
of Raoul Rochette in 1854. In his capacity of Se- 
cretary he delivered funeral orations for Onslow 
(1855), Blouet (1856), and David d'Angers (1857). 
In 1845 he was promoted to be an ofiicer in the Le- 
gion of Honor. More recently he was elected a mem- 
ber of the Institute. In private life M. Hale'vy was 
universally esteemed. 



The Sum paid to Rossini for his Opera "II 
Barbiere." 

The following is a curious document, not without 
interest for the liistory of music. It is the agreement 
between Rossini and the manager of the Argentina 
Theatre at Rome, for composing and superintending 
the production of II Barbiere. We translate it liter- 
ally. 

"Nobil Teatro di Torre Argentina. 

"25th December, 1815. 

"By the present deed, drawn up by private indi- 
viduals, but not the less valid on that account, and 
in conformity with the terms agreed on by the con- 
tracting parties, it has been stipulated as follows : — 

"The Signor Puca Sforza Cesarini, manager of the 
above theatre, engages the maestro Giaochino Rossini 
for the coming carnival season of 1816; the said 
Rossini promises and hinds himself to compose and 
place upon the stage the second buffo drama repre- 
sented during the aforesaid season at the theatre al- 
ready mentioned, and to suit it to the libretto which 
shall be given him by the same manager ; whether 
this libretto be new or old, the maestro Kossini under- 
takes to send in his score by the miildle of the month 
of January, and to adapt it to the voices of the sing 
ers ; he hinds himself, moreover, if called upon, to 
make all the alteratioi'S which shall be necessary, 
both for the good execution of the music, and the 
convenience and requirements of the singers. 

"The maestro Rossini pro;nises and hinds himself, 
also, to be at Rome, for the purpose of fulfilling his 
engagement, not later than the end of December of 
the present year, and to deliver to the co]>yist the 
first act of his opera, completely finished, on the 20th 
January, 1816 ; the 20th January is selected, in order 
that the rehearsals and concerted music may he 
promptly proceeded with, and the opera placed on 
the stage on the day desired by the manager, the first 
performance heine fixed, from this time, at about the 
5th February. The maestro Ixossini is bound, also, 
to deliver to the copyist, on the day required, his se- 
cond act, in order that there tnay be time tj practice 
and rehearse, so as to produce the opera on the even- 
ing previously mentioned, otherwise the jnaestro Ros- 
sini will he liable for all losses, since it mnst be thus 
and not otherwise. 

"Furthermore, the maestro Rossini will be bonnd 
to superintend the getting-up of his opera, according 
to custom, and to be present at all the rehearsals of 
the vocalists and orchestra, whenever this shall be 
requisite, cither in the theatre or elsewhere, at the 
desire of the manager ; he undertakes, also, to be 
present at the first three performances, which will be 
given consecutively, and to conduct at the piano, be- 
cause it must be so and not otherwise. In consider- 
ation of his trouble, the manager binds himself to 
pay the maestro Rossini the sum and quantity rf(' scudi 
qnatro cento romoni (of four hundred Roman crowns), 
immediately after the first three performances which 
he shall conduct at the piano. 

"It is further agreed that, in the case of an inter- 
diction, or of the theatre being closed, either by the 
authorities, or from any other unforeseen cause, the 
same course shall be taken which is usually pursued 
in the theatres of Rome, or in any other country, un- 
der similar circumstances. 

"And, as a guarantee for the complete execution 
.of this agreement, the latter shall he signed by the 
manager, and also by. the maestro Giaochino Rossini ; 



moreover, the said manager provides the maestro Ros- 
sini with lodgings, for the duration of the agreement, 
in the house assigned to Sig. Luigi Zamboni." 

This agreement, by which Rossini obtained about 
eighty-nine pounds, applied simply to II Barbiere di 
•Sivi(/lia. — London jV?f,s. \]'o}-ld. 



For Dwight's Journal of Mn5ic. 

Composers of " Stabat Mater." 

I Having formerly sought in vain for a list of the 
composers of the Stchat Hater, I have been in the 
habit for some two or three years of writing the 
names of such as have set it to music, which I come 
upon in the course of my reading and study. It is 
not to be supposed that a list from the notes already 
made can lay a claim to any great degree of com- 
pleteness ; but even- an imperfect catalogue is better 
than none, and at all events lays a foundation for 
something better in process of lime. 

The text, and doubtless a melody for it, was the 
work of Jacob Benedictoli or Jacopone da Todi, a 
descendant of the Benedict flrmily, a native of Todi, 
who died a minorite friar in 1306. For an account 
of Jacopone, an article by Fink, in the Ljeipziyer Allg. 
ifusik Zeitunri, August 17 and 24, 1825, may be con- 
sulted, — an article, which might at least be the basis of 
an interesting one for Dwir/lii's Journal. Fink draws 
upon the Monkish historians of the order of which 
Jacopone, after losing his wife, became a member, 
and shows conclusively enough the error of Johann 
t'. Miiller and other writers is .ascribing the poem to 
Pope John, XXII. and others. — A. W. T.] 

1. Jacobo Benedictoli, died 1306. 

2. Josquiu de Pres, born about 1440, at St. Quen- 
tin. (See /.. il/. Z., Vol. XXXVII. No. 24). 

3. Vito. There is (or was) a score of S'^nf«(i!fo<;rs 
under this name in the Library of the Sacred Har- 
monic Societj' in London. Who was this Vito? 
Was he the church-music director Vito, who died in 
Prague in 1551 ■? 

4. Angelo Inzenga, or Inz. Angelo, (which ?) An- 
other Stabat Hater under this name is also in the 
Library of the Lond. Sac. Har. Soc. Is this An- 
gelo, perhaps the monk, Angelo de Picitone, the or- 
ganist and author of " Fior Angelica di Musica,^-c," 
published at Venice, 1547 ? 

5. Palestrina — 1524 — 1594. 

6. Nanini. There were two Naninis contempora- 
ries of Palestrina ; which was the author of the St. 
M. I cannot make out, probably Giovanni Maria, 
who,with Palestrina, opened the famous music school 
at Rome. He died 1607, as one of the Pope's 
choir. 

7. Giov.anni Paolo Colonna, church chapclinaster 
at Bologna, died 1695. He wrote one St. M. in 5 
parts with instrumental accompaniment, and another 
in 8 parts, or for two choirs. 

8. Agostino StcfTani — 1655 — 1730— the chapel- 
master at Hannover, who befriended the youth, 
Handel, and caused his office to be conferred upon 
the rising genius, in 1708. 

9. Antonio Caldara, born about 1674, vice-chapel- 
master to the Court at Vienna, from 1714 to his 
neath in 1763. Some of his works are in the reper- 
tory of the Dom Chor at Berlin. 

10. Emanuel d'Astorga, born in Sicily about 1680, 
where his father was executed by the Spanish con- 
querors of the island, and educated in a convent at 
Storga, whence the name. He seems to have com- 
posed his St. M. for London about 1720. 

11. Gian. Carlo Maria Clari, chnrch chapelmaster 
at Pistoja, flourished about 1700, — his St. M. is in 
Novello's Fitzwilliam music. 

12. Giov. Batlista Pergolese (Giamhattista Jesi) 
born at Pergoli, whence the name by which he is 
known, 1707—1739. 

13. Pasquale Caff'aro, 1708—1787. Chapelmaster 
at Naples. 

14. Christopher Ghick, 1714—1787, 

15. Orazio Mei, cathedral chapelmaster at Leghorn, 
died 1795. 



22 



DWTGHT'S JOURNAL OF MUSIC 



16. Joseph Aloys Sclimittbauer, 1718 — 1809. 
Chapelmaster at Carlsrulie. 

17. Joseph Lederer, 1733—1796, a monk at Ulm. 

18. Joseph Hajdii. 1732—1809. 

19. LuiY'i Boechei-ini, born 1730? 1735? 1740? 
(Fe'tis <jivcs this last date) died 1805. 

20. Carl Josepli Rodcwald, 1735 — 1809, concert- 
master at Cassel. 

21. JIarqnis of LiKnivillc, a noble Amaten'. 
Music director at the Court of Tuscany about 1765. 

22. Franz Seydolmann, 1748—1806, director of 
tlie Italian Opera at Dresden. 

23. Peter Winter, 1755— 1825. Chapelmaster at 
Munich. Composed St. M. three times with the 
Latin, once with the German text. 

24. W. A. Mozart, 17^6-1791. (See Holmes's 
Life of Mozart, N. Y. Ed., p. 368. This may bo a 
mistake, for Jahn, I believe, has nothing about a St. 
M. by him.) 

25. Franz Danzi, 1760— 1826. Chapelmaster suc- 
cessively at Munich, Stuttgart and Carlsruhe. 

26. Johann Simon Mayr, 1763— 1845 ; a Bavar- 
ian by birth, church chapelmaster at Bergamo. He 
set the St. M. to music 4 times. 

27. Antonio Peregrini Benelli. 1771—1830. Sing- 
er in London, 1798-1800, then long in Dresden, and 
died as teacher of singing in Berlin. 

28. Carl Fried, liungenliagen, 1778 — 1851, died 
director of the Singakademio at Berlin. In the Ilar- 
moincon. Vol. IV., p. 235, is a notice of a Stahat 
Mater, posthumous work by C. M. v. Weber. The 
wrfter of that note mistook the work of Rungenha- 
gen for Weber's, owing to misinterpreting the adver- 
tisement in which it was offered for sale for the bene- 
fit of Weber's widow and children. 

29. Sigismond Neukomm, 1778 — 185 — ? 

30. August Ferdinand Haser, 1779 — 1844, chorus 
and church music director at Weimar. 

31. Franz Paul Grua, one of tlie chapelmasters at 
Munich, early in this century. 

32. Joseph Zyka, a musician at Berlin, sent a St. 
M. to St. Petersburg in 1797, and received a ring set 
with jewels from the Tsar. 

33. Ignaz von Seyfricd, 1776— 1841, chapelmaster 
at the Theatre an der Wien in Vienna. 

34. Pietro Raimondi, music director in Naples, 
produced his St. M. in 1822. 

35. Jacob Meyerbeer — tlie Meyerbeer. 

36. Johann Hartmann Stunz, successor of Winter 
as chapelma.ster at Munich 

37. Joachim Rossini. 

38. Franz Schubert wrote a St. M. to a German 
text. 

39. Amandus Leopold Leidgebel, 1816, still living 
in Berlin. 

40. Robert Eitner, a youngish musician in Berlin, 
St. M. for men's voices. 

41. Max Keller, still, I suppose, organist at Alt- 
toting in Bavaria. 

42. Wm. H. Fry, well known as the musical 
writer of the N. Y. Tribune. 

43. J. M. V. Bush, (of New York ?) 

44. Besides, I see a Prince Corca mentioned as 
having set the St. M., but find out nothing about 
him. 



Stoigljt's loiirnitl of Pusk. 



BOSTON, APRIL 19, 1863. 

JIosio IN THIS NOMBER. — Continuntion of Chopin's 
Mazurkas. 



Concerts and Operas. 

Our " season" is substantially over. Our 
sprin<;s of musical delight, whicli flowed so full, 
have one by one, like Clierith's brook, " dried 
up." No Philharmonic Concerts, no Quartets 



and Quintets, no Oratorios have we to report of. 
The only public concert of the week has been 
the twelfth of the Wednesday afternoon affairs 
of the Orchestral Union. These still share 
the empire of minds restless with the sun- 
shine and vague prophecies impulses of 
Spring. The Music Hall last Wednesday may 
have been two-thirds full, and rarely has it held 
a more attentive audience — at least in the day 
time. An uncommonly good programme, for a 
popular one, deserved this. First was played 
the " Midsummer Night's Dream " overture, — 
played for the inost part with great delicacy ; the 
fineness of the violin tones, both in the tiny fairy 
flutter, and in the singing, long-drawn die-away- 
to-s!eep passage, held the listening soul entranc- 
ed. There was real pianissimo here. What a 
dream indeed, and what a performance for a 
hoy (well named Felix) of fifteen ! This was 
fine poetry ; then came small talk, eager and 
vivacious, airs from the ball room, in the shape 
of a clever Strauss waltz, which he calls " his 
Farewell to Berlin," — full of odd surprises in the 
way of instrumental coloring. 

Beethoven's second Symphony, in D, was list- 
ened to with close attention and delight through 
all four movements. There are not many in our 
audiences now, who would vote a Symphony 
— certainly not one of Beethoven's — a bore. 
You overhear less talk about their being " scien- 
tific," " classical," well enough for the connois- 
seurs and all that, and more about their beajjt^y 
and their grandeur. Y'oung people discuss their 
favorites among the Symphonies as among their 
friends, ond yet love them all. So much for the 
frequent opportunities of hearing ; and hence, 
at the risk of its seeming an old story, would we 
continually renew our recognition of the Orches- 
tral Union, CAitL Zkrrahn, and all who take 
care to provide these good things for us. 

The Miserere from Verdi's Trovatore sounded 
lugubrious and tragical enough to satisfy the most 
intensely romantic of young ladies, and so met 
a want which older people have found more than 
enough provided for in actual life. But candidly, 
did there not seem to be a good deal of melo-dra- 
matic blue-light about the affair, after the genial, 
real daylight of the Symphony ! Strauss again 
contributed a luxurious set of Quadrilles out of 
Meyerbeer's Etoile du Nord; and then the con- 
cert closed with a good honest, genial overture — 
one of his most spirited and best — by Rossini, to 
the " Siege of Corinth." Very apropos in name 
at present ! May the real siege, awaited now so 
anxiously in Mississippi, be as successfully per- 
formed as this was ! 

Mr. Otto Dresel completed last Saturday even- 
ing the four — properly speaking eight — delightful 
Piano-Forte Soir&s, which he has been giving in the 
picture room of the Studio Building. As we have 
said before, in briefly alluding to the first of them, 
he gave them in spite of himself; the usual order 
was reversed, and, instead of artist inviting audience, 
it was audience inviting (commanding) artist. 
A circle formed itself to hear him play in a small 
room, almost as in a parlor, so that the thing could 
not be very public ; and yet, liy doubling the con- 
certs, at least two hundred persons first and last be- 
came partakers of the pleasure. We venture to de- 
clare (or all of them, that never were concerts found 
so short — long as they must prove in the remem- 
brance. Further than this we have no right to criti- 
cize, or even praise, the performance, for it would 
rob the soirees of their free and social character. 
But of the pieces played we make a note, to show 
what some of our musical circles love and are so 
happy as to get — albeit not so often as they would. 



The fourth (eighth) programme was as follows : 

1. Larghetto from 24 Symphony 'BeethOTeii 

2. Two Romancefl, I c. i. 
Intermezzo. ( Schumann 

3 Reverie, ) 

Phanta,«iestUck, J Otto Dresel 

Intermezzo, ) 

4. Scherzo. (Bb minor) Chopin 

5. Funeral March Chopin 

fi. Fugue, (C sharp major Bach 

7. Presto Scherzando Mendelssohn 

Gavotte Bach 

."chorzo Mendelssohn 

8. Etude Thalberg 

Polka otto Dresel 

9 Adagio from 2d Concerto, and I ^. . 

Polonaise, op. 22, } Chopin 

The Symphony Larghetto was an admirable ar- 
rangement hy Mr. Dresel himself. For the inter- 
vening concerts, between the first and last, he had no 
printed programme, nor did the Saturday division 
of the subscribers always get a fac-simile of the 
Thursday's feast ; the artist leaving himself open 
somewhat to the moods and inspirations of the mo- 
ment. We cannot remember all the pieces. But 
among them was another Beethoven Symphony 
movement, the Andante of the C minor, wonderful- 
ly arranged hy Liszt, so as to clearly indicate even 
the contrasted characters of the different sets of the 
orchestral instruments. One evening he played two 
of Beethoven's Sonatas : that in G, op. 31, and that 
in Ah, with the variations and the Marcia fanebre. 
Sebastian Bach was further represented by one of 
his grandest Organ Fugues (in A minor), even the 
grand pedal effects being given (twice played) ; and 
by a most exhilarating Garotte, arranged from one of 
liis orchestral Suites. Of Mendelssohn we had 
(twice) his noblest Piano-forte work, the "Variations 
Serimses," and several poetic " Songs without 
Words." Of Schumann, a Fantasia, deep and rich 
in feeling, and several smaller pieces. Taubert's 
"Campanella," something very nice by Hiller, an 
Etude by Thalbeeg, and some impassioned, splen- 
did Fantasie-Stiicke by Saran, the gifted pupil of 
Robert Franz. But it was of Chopin that he 
dispensed the most copious and frequent draughts, 
hr'ngn'j; out treasures new and old, as only he can 
do, and to most willing and insatiable audience. 
Fantasia, Polonaises, Scherzos, Etudes, Impromptus, 
Mazurkas, Waltzes, Nocturnes, enough to put one in 
a bewildering too happy reverie in trying to recall 
them individually. 

The Italian Opera closed with two full houses 
on Friday evening and Saturday afternoon of last 
week. Donizetti's "Daughter of the Regiment" was 
very charming in the person of Miss Kellogg, 
whose natural, vivacious acting, fresh, pure voice, 
and pointed execution, filled out the pretty part to 
good advantage, and won continual applause. Brig- 
NOLi spared not his golden tones in Tonio, but did 
his best; and Sig. SnsiNi was the brusque old ser- 
geant to the life. The choruses were fair in parts, 
the military evolutions not marked by the greatest 
unity, and La figlia drummed too, with considera- 
ble eclat. 

The afternoon performance (Matine'e) commenced 
with the first act of the Traviata, in which Mme. 
Varian, while she sang some parts eliarmingly, and 
appeared always graceful, lacked either power of 
voice, or confidence, to make the whole scene telling ;' 
while Sig. Errani. the new tenor, gave a pleasant 
touch of his quality, though but a little. La Faoor- 
ita followed, Mme. D'Angri modulating her rich 
voice artistically, as she alw ays docs, but having 
neither the right voice nor feeling for the part. 
Brignoli sang superbly. The King's part (bari- 
tone) was wooden; and Sig. Barili supplied the 
place of SnsiNi (indisposed) quite well as the old 
monk Balthazar. A miscellaneous " Sacred" con- 
cert employed all the artists Sund.ay evening. 
■ ■ ■ 

" Old Hundred" After Victory. — There 
is sense in the following suggestion from a son of 
the Puritans, now in Europe. 



BOSTON, SATURDAY, APRIL 19, 186 2. 



23 



Why do I not read in the reports of the victories 
of our troops, especially of those from New England, 
descendants of the Puritans, that, after the action is 
over and the victory secure, all unite in singing the 
Old Hundredth psalm tune," "Be thou, O God," 
fee.? 

When we consider that this old psalm tune was 
prepared for the Calvii.ist psalm hook in 1553 (or 
about that time), that it was adopted by Ainsworth, 
in his book prepared for exiled Puritans in Holland 
soon after, that it was brought to our American 
shores, by the first settlers of Massachusetts, and has 
become the American "Te Deum," with all the As- 
sociations now of tlirft Iniiwlred years clustering 
about it, wliat could so grandly close a victorious 
day of strife, as to hear it swelling from the multi- 
tude of manly voices ■? If I was in the army, I 
should wish to enter the battle with " Hail Colum- 
bia" and " Yankee Poodle," and close it with the 
grand strains of the "Old Hundredth." Just think 
of the effect! With what a will would our New 
England troops have joined in the familiar melody, 
at Roanoke, Port Royal and Ship Island ! 



Another patriotic Concert next week ! The Bos- 
Tox Mozaut CLtrn give an Orchestral Concert on 
Thursday evening, at the Melodeon, in aid of the 
Sanitary Commission. Zerraiix will conduct, and 
the Amateur Orchestra will play Mozart's Symphony 
in D, a Concert Overture by Kalliwoda, the Scherzo 
(Minuet and Trio) from Mozart's Efc Symphony, 
Schnbert'a Serenade (arranged), Beethoven's "Turk- 
ish March," a Schuliert song transcribed with horn 
ohlif/ato, and the Zintherfiofe ovavtuie. A programme 
worthy of so good an object ! 

The Orchestral Uniox will play next Wednes- 
day Afternoon Mendelssohn's " Italian Symphony." 

Owing to the illness of Mr. Kreissmann the Con- 
cert of the Orpheus Society, advertised to take place 
this evening, is postponed till further notice. 

AVe are ]-equestcd to state that the Orchestral 
Union will continue their Concerts three or four 
weeks longer, and due notice will be given of the 
last concert. 

To-morrow (Sunday) evening the Handel and 
Haydn Society will give a performance of Haydn's 
" Creation," — a work which they all thoroughly 
know at all events. Mr. Zerraiin will conduct, and 
the solos will be sung by Miss Lizzie Chapman 
Miss GiLSON, Mr. G. W. Hazlewood, (a tenor 
much admired in Philadelphia), and Mr. W. M. 
Whitney. 

Unfortunately the absence of Mme. Varian, who 

was to have taken part, postpones to next week the 

execution of the patriotic project thus announced in 

Wednesday's Transcript : 

Musical Celebration of a Memorable Anniversary.— An 
informal meeting was lield la^t evening at the "Studio Build- 
ing " to make arrangement-s for a Promenade Concert on Sat- 
urday evening, in conunemoratiou of tliat memorable day 
(tile 19th of April) and in aid of the fund.cof the New England 
Sanitary Commission. A few brief and earne.it resolutions 
were pa.«.'?ed, commending the enterprise to the generous pat- 
ronage of the public, appoinlinffaCoramitteeof Arrangements 
of 160 persons, taken from the citizens of Boston and the a> j l- 
cent cities, and invoking the co-operation of the Mayors of 
those cities. It was unanimously resolved that Mrs. Harrison 
Gray Otis should be respectfully urged to act as Liidy Patrjii- 
(-8^ of the enterprise. A letter was read from Dr. S. Gr. Howe, 
regrettiDg his inability to be present at the meeting, cordially 
welcoming the mnviiiciit. and eloquently urging the cl ims 
of the object and its present needs. It was announoeil that 
several well known soci, ties and individual artists were either 
engaged or had volunteered their services for the occa.^iou, and 
the Music Hall having been secured, the meeting adjourned. 
Tickets at the usual places. 



We have before ns the programme of a Soiree 
Musicale to be given next Wednesday evenin"- at 
the Pianoforte Rooms of Messrs. Hallet and Cum- 
ston. The performers will have the interest of 
novelty, being as yet little known in the concert room . 
Miss Addie Ryan, a pupil of Si' . Bendelari, will 
sing the "Tell" Romanza and other pieces. Mr. 



Hermann Datjm, a pianist of artistic feeling and an 
esteemed teacher, will plav Beethoven's O minor 
Trio, with Messrs. Ernkst and Chas. Verron, 
who will ato perform a Duet by Mozart, for violin 
and 'cello. Mr. C. J. Dorn will piny the guitar 
part in a Trio with those brothers, as well as a solo; 
and Mr. L. W. H. Isenbeck is to appear as pianist, 
S'llo, and in a Trio by Hiiiiten with the brolhers 
Verron. 



Mr. B. ,1. Lang has fixed upon Saturday evening. 
May, 3, for the first bringing out of Mendelssohn's 
" Walpnrgis Night" in the Boston Music Hall. 
He is now zealously eniraged in traitiing the chorus, 
IJiO strong ; picked voices ; an'ljhe will givcit with 
the full on'hestral aeconi]>aniinents. It shoiiltl be 
the musical event of the present spring. 



Operatic Overtures. 

A London journal reports a couple of interesting 
historical lectures on this subject, as follows : 

Mr. Henry Lincoln's Lectcres. — Mr. Henry 
.Tohn Lincoln delivered the first of two lectures at 
the Marylehone Institution, on Operatic Overture, 
before an audience who appeared tboronghly grati- 
fied by his treatment of tlie siihject. The musical 
illustrations were played by the lecturer and Mr. 
Adolphi Ries, on two grand pianofortes ; commenc- 
ing with Lulli (or Lully), who, although the father 
of French dramatic music, was a Florentine by birth, 
beginning his career as a scullion, and ending it as 
secretary to the King (Louis XIV.). The overture 
to Phmton was given as the earliest example. To 
this sncceeded Htmdel's Riimlflo, an opera originally 
produced In 1711. Reverting to the French school, 
the next instance was Ke Temple cle la Ghire of Ra- 
meau (174.5) who at fifty years of age produced his 
first opera fjippolijte el Aricie, to which succeeded 
man}' others, amongst which Castor and Pollux was 
represented one hundred times. Here again wa.s the 
divine art duly honored by royalty, letters of nobility 
and the tlile of Chevalier de Saint Michael being 
granted to the fortunate composer — for whom by the 
way the French claim the discover}^ of the fiasse fon- 
rfamen^a/c.although it was known long before Rameau 
entered on the subject. Till the tidvcnt of Gluck, 
the overture appears comptiriitlvely uninteresting, and 
devoid of dramatic truth. Such was the fimeof the 
Bohemian musician, that he was engaged as compo- 
ser to the King's Theatre, wliere his Cathifa ilri Gi- 
qa- 1' first Introduced him to the British public. The 
turning point from the constructive to the iiloal being 
achieved, Mozart is next Introduced, and the over- 
tures to F'garo and Die Ztnherfldte adduced to iilu-;- 
trnte his mastery of that, as he wa.s indeed, of every 
other form of composition. The lecturer observed, 
that, although the last of them dated some tlirce 
quarters of a century back, Mozart's works were 
stamped with that freshness that tliey might have 
b^en written l.ast week, — ind so they migh , bu', 
unfortunately, neither last nor next week, It.ive wc 
any Mozart again to deliglit his own age, and poster- 
itv to hoot. Cumjng to the close of the last centurv, 
Mehiil 1= next presented. La. lihasse da jeiine. Ihirl 
exemplifvinz the composer who founded the French 
schfo', of which Auber is the latest and le-t repre- 
sentative. Cherubini was to France what Handel 
was to England, stamping his mode upon the music 
of his adopted country, and tlie overture to Anerreon 
was next introduced as a specimen of his powers. 
Beethoven's Leonora overtui'e, on which it woidd be 
idle to dilate, bring'ng to a conclusion a very interest- 
ing lecture. 

The second lecture was given on Thursday even- 
ing. So favorable had been the Impression produced 
on the first, that, notwithstanding the excessive In- 
clemency of the weather, there was an audience even 
more numerons than on the previous night. In his 
former lecture, it will he remembered, Mr. Lincoln 
traced the progress of the operatic overture, from the 
first esf^ays of the Italian composers of the seventeenth 
century to the labors of Lulli in France, who first 
cave to these preludes interest and importance; and 
then followed the successive steps of this progress 
throngh the dramatic works of Glnck, Mozart, Me'hul, 
Cherubini, and Beethoven, with whose overture to 
Leonora, performed as an Illustration, the lecture end- 
ed. On Thursday night Mr. Lincoln, starting from 
this point, brought forward another overture of Beet- 
hoven — that which he wrote for the same opera when 
it was revived In 1814 under its present title of Fide- 
lio. This overture is not so grand and elaborate as 
its precursor, from which, too, it diflS;rs in spirit as 
well as in stvie, having reference to the hrishter rath- 
er than the more gloomy features of the drama. It 
shows, moreover, Beethoven's emancipation from the 
conventional forms established by Mozart. Admir- 
ably played by Mr. Lincoln and Mr. RIes, it was ex- 
ceedingly effective, and was warmly applauded. The 



lecturer then proceeded to Weber, the peculiarities of 
whose genius he analyzed with great happiness of 
thought and langnnge, characterizing hini as the 
greatest of all dramatic composers in the romantic 
style. One of Weber's peeuliantles, the local color- 
ing which he introduced into his works, Mr. Lincoln 
illustrated by meaus of his charming overture to Pre- 
ciosa. The drama being a tale of gypsy life in Spain, 
the overture, wiih Its S)>anish bolero jmd original 
L'vpsy melodies, Is in Iieantifiil harmony with Its sub- 
ject. Weber's pcciiHarlties were further developed 
in the FreisrJiiifz. In the overture to that opera he 
showed his wonderful skill in introdui-ing the most 
.striking passages of the piece, and fining them Into a 
movement of the most perfect symmetry of form. 
Passing on to Weber's contemporary. .Spobr, Mr. 
Lincoln pointed out the beanties and defects of that 
great artist — his exquisite feeling for form and pro- 
|)oriiou. the richness of bis orchestral coloring, enti- 
tling h"m to he called the Titian of Music, and on the 
other band his excessive pronencss to full and cltro- 
matic harmonies, and a certain manneri-m which is 
apt to be fatiguing. Mr. Lincoln illustrated Ills re- 
marks by the performance of the overture to ./esson- 
dtf, Spohr's best opera. Turning then to the moilern 
Italian composers, he noticed their general incapacity, 
from the ilefectlve nattu'e of their studies, to produce 
soliil and masterly instrumental music — excepting, 
however, from this censure the greatest among thetn, 
Rossini, to whose genius he did ample justice. As 
an illustration he gave Rossini's gorgeous overture 
to Seiniramlde, which was so spletnlidly executed 
that it was followed by reiterated rounds of applause, 
evidently intended to express a desire for its repeti- 
tion ; and, judtring from our own feeling, we think 
the audience were disappointed that their demonstra- 
tion was not so interpreted. Turning, finally, to the 
modern French school, Mr. Lincoln discussed at some 
length, and in a very interesting manner, the merits 
of the present representatives of that school, Anber 
and Meyerbeer, giving as Illustrations Anber's over- 
tures to Masnniello and the Clieval de Bronze^ and 
Meyerbeer's overture to Le Pardon de Ploermel, called 
In this conntrv Dinorak. With this the lecture con- 
cluded. Mr. Lincoln explained wb}- he had not giv- 
en any of the overtures of Haydn or Mendelssohn ; 
those of the former belonging to operas which are 
now of no Interest, and those of the latter not being 
operatic. He however, contemplated a course of lec- 
tures in which these great musicians would find their 
proper places. 

Vienna. — Tiie Philharmonic Concert, March 13, 
had for its principal number Beethoven's C minor 
Symphony. The Mnsih-ZfitHnfi complains that the 
first movement was taken too fist, antl thinks the 
Adagio might have been treated with a finer feelinc:, 
but says the didicnlt rllardtindo passages in the third 
movemenl^were eminently successful. (In these old 
musical cities, good orchestras ami eminent conduc- 
tors do not get mere praise, with never anv variation 
or exception !). (')ther pieces were Gade's "High- 
land" overture (not much npplandedl; Mozart's 
piano Concerto in C minor, played "with his usual 
elegance" by Herr Epstein ; Beethoven's "^'lA/w;/!- 
do,'* sung by Friiulein Krauss. 

At an extra concert of the Siug-Akademie, the first 
part consisted of single choruses : Mentlelssohn's 

Morning Prayer," Grailener's " Waldeszauher,'* 
Cherubini's "SInmber-Song " from his "Blanche of 
I'rovence," &c. Part second consisted of Schumann's 
"Pllgrimaire of the Rose." 

Hellmesherger's last "Quartet Production" offered 
the foUowinsr pieces : Mozart's Quartet in D minor; 
Schumann's D minor Trio (played by Herr Dacbs). 
and Beethoven's Quintet in C. Half of the proeeds 
of the concert were given to Moznrt's grand-niece, 
the only surviving member of the family, who lives 
in great poverty. 

Berlin. — Marie Wiet'k, the sister of Mme. Clara 
Schumann, won »^i-eat applause ;it the third concert 
of Robert Radecke on the 14tli February. She pl.ayed 
the F minor Concerto of Chopin, and the Choral 
Fantasia of Beethoven. Her playing is s.iid to lie 
of the most genuinely feminine character, ns con- 
trasted with the manly, eneriretic accent of her sister. 
" In alternation with the orchestra she lacks strength 
sometimes, but renders the softer elegiac passages 
with the neatness and fine coloring of a charming 
miniature. She was particularly successful in the 
Chopin Andante ; but for the Finale we could have 
wished a holder siczing of the poetic motive-:." A 
new tenor, Ilerr Ferenczy, from the theatre at Riga, 
was to appear at the royal opera house in " William 
Tell." — Verdi was here on his way back from St. 
Petersburg. 



24 



DWIGHT'S JOURNAL OP MUSIC, 



Dresden. — Alfred Jaell, the pianist, and Laab, 
the Berlin violinist, have given two eoncerts together 
in the Hotel de Saxe. In the fourth concert of the 
"Tonkiinstler-vercin," a Sonata (Op. 49) for piano 
and viola, by Anton Rubinstein, was performed and 
excited much interest. On Ash Wednesday Han- 
del's "Alexander's Feast " was performed, with Mo- 
zart's accompaniments. 

Wiesbaden. — A new opera by Ferdinand Hiller, 
"The Catacombs," was performed for the first time 
ou the l.'ith Feb., and with the most brilliant success. 
The composer was twice called out. The perform- 
ance, under the direction of Cnpell-meister Hagen, 
was excellent. The Court were present. 

London. 

The fourth season of the Musicai, Society or 
London — famous for its concerts and its cheerful 
"conversazioni,^' and numbering nearly all the lead- 
ing musical people among its fellow.s and associates 
— opened about the middle of March with a grand 
concert in St. James's Hall, with the following pro- 
gramme : 

Part I. 

Overture (Die Zauberflote) Mozart 

Aria, "Dolce corde amato" Mozart 

Coucerto in D minor — violin Joachim 

Scena, "Hail, liappy morn'" (Robin Hood) Macfarren 

Overture, No. 1, (Leonora — Op. 138 Posthumous). 

Beethoven 
Part II. 

Svmphony in A (Op. 90) Mendelssohn 

Duet. "Xanti strali'" Handel 

Overture (Le Caruaval Romain) Berlioz 

From the extended notice in the Musical World 
we cull a few sentences : 

The band, 86 in number, consisting, without ex- 
ception, of professors of recognized ability, and di- 
rected by Mr. Alfred Mellon, is at the present mo- 
ment (some valuable reinforcements in the stringed 
department having been made since last year) equal 
to any body of instrumental players in the world. 
Their obedience to the "baton" is like machinery ; 
and, as happily the gentleman who holds it is any- 
thing rather than a mere mechanical conductor, his 
intelligence and sensibility being equal to his firm- 
ness, the result in the majority of instances is a com- 
bination of technical precision with energetic and 
appropriate expression. 

The soloist — the " virtuoso," as the phra.se is — of 
the evening was Herr Joachim, who bids fair to he- 
come the " lion " of the musical season of 1862. 
This time the accomplished violinist came forwanl 
in the dual capacity of composer and performer. — 
The "Hungarian concerto" (in D minor) has only 
once before been heard in England — in 18.')9, at the 
Philharmonic concerts. On that occasion, though 
Herr Joacirun himself "held the fiddle," it was little 
understood, and at best achieved wliat is ordinarily 
termed a succes d'cslime. On Wednesday night it met 
with a very different reception, and the rapturous 
applause that followed one of the most extraordinary 
performances in all probability ever listened to was 
as much a tribute to the merits of the work as to the 
brilliant ability of the executant. The allegro — an 
extremely long movement, elaborately designed and 
ambitiously wrought out — into the recondite beauties 
of which only practised musicians would be likely 
to enter without hesitation, must be beard again to 
be thoroughly appreciated ; but the romance and the 
finale n//a Zinrjara at once made themselves clear to 
the intelligence of all present, the refined and 
exquisite melody of ^he first, the strongly mark- 
ed character and never flagging vigor of the last, 
carrying with them, from end to end, a charm 
that was fairly irresistible. The concerto is 
aptly entitled Concerto in the Ilunijarian style, inas- 
much as it is everywhere instinct with the sentiment 
of Hungarian melody, which the composer has hap- 
pily caught, and idealized in a genuine spirit of poe- 
try. While every phrase is as new as the plan and its 
development arc original, the feeling of Hungarian 
tune — a conspicuous element of which is that species 
of wild melancholy which poets and minstrels time 
out of mind have attributed to the popular songs and 
melodies of oppressed nations — is kept uppermost 
from the beginning to the end with remarkable feli- 
city. In short, the whole piece is as interesting as 
it is masterly, and as genial as it is both. Herr Joa- 
chim's execution of his own music stands in no need 
of laudatory epithets ; but a word of unqualified 
praise must in justice be awarded to the members of 
the orchestra, and Mr. Alfred Mellon, their conduc- 



tor, for the nnifoimly correct and admirable manner 
in which they accompanied a concerto of such un- 
paralleled difficulty. The ultimate popularity of a 
work like this is a problem only to be solved by an 
uninterrupted series of "Joachims ;" for any average 
player to attempt it would be simply ridiculous. 

Sacred Harmonic Society. — The very fine 
performance of Israel in Eqypt, which took place on 
Friday se'ennight in Exeter Hall was a foretaste of 
what the lovers of Handel's music are entitled 
expect at the forthcoming Handel Festival. — 
The extraordinary improvement observable in the 
choruses must in some measure be attributed to those 
careful "practices" of the so-styled "London contin- 
gent" which since 1847, have been held at various 
intervals. 

Israel in Ef/ypt has from the first been a pet orato- 
rio with the Sacred Harmonic Society ; and it affords 
us sincere pleasure to note the gradual advance which, 
season after season, is effected by the members in the 
execution of its varied and astonishing choruses. 
The improvement of late years has been, not so much 
"slow and sure," as quick and sure. Obstacle after 
obstacle has vanished, until the most recondite and 
ineffable beauties of the music became clearer and 
clearer to ordinary apprehensions. At present the 
stumbling-blocks in the way of a thoroughly efficient 
choral performance are "few and far between." 
"They loathed to drink of the river," "He spake the 
word," "He sent a thick darkness," "He smote all 
the first-born," "And with the blastof Thy nostrils," 
&c., have, one by one, been vanquished, and their 
diflSculties for the most part smoothed away. It was 
a treat at the last performance to hear tliese elaborate 
choruses going off, with very rare exceptions, as 
smoothly and at the same time as vigorously as "He 
gave them hailstones," ''The horse and his rider," 
and other familiar pieces. The intonation of the 
singers in that formerly most perplexing of choral 
recitatives, "He sent a thick darkness," exhibited 
scarcely a single instance of unsteadiness or hesita- 
tion ; and when the critical unison, "A darkness 
which might be felt," attained its impressive climax, 
the choir was found exactly in the same "pitch " as 
the organ and orchestra, — an achievement which in 
the good old times would literally have been cried up 
as "a miracle." "The people shall hear," the long- 
est and most intricate chorus in th<? oratorio, the 
most remarkable for its modulations and progressions 
of harmony (which seem to anticipate almost all the 
inventions of more recent .art), has still to be worked 
up to the desired ideal, more particularly in the epis- 
ode "Shall melt away," introduced by the solemn 
phrase, "All the inhabitants of Canaan," and in what 
may be styled the coda, beginning at the wonderfully 
developed passage ""Till thy people pass over, 
Lord." But where so much has been accomplished 
there can be no snch thing as "stopping short." 

The solo vocal parts were adequately sustained. 
Miss Parepa was admirable in the principal soprano 
music, ancl — to say nothing of the air "Thou didst 
blow " (with its quaint and curious "ground-bass "), 
or of the duet "The Lord is my strength " (in which 
she was most efficiently supported by that young and 
very rising singer. Miss Banks) — delivered the reci- 
tatives of Miriam with really splendid energy. The 
two contralto airs — "Their land brought forth frogs " 
and "Thou shall bring them in," — were sung by 
Mad. Sainton-Dolby — to whom the music of Handel, 
in all its many phases, seems a natural language — in 
a manner wholly beyond reproach ; Signor Belletti 
and Mr. Lewis Thomas declaimed the vigorous duet, 
"The Lord is a man of war," with exemplary energy 
(obtaining the "encore " never withheld from this 
extremely effective piece) ; and Mr. Montem Smith 
gave the whole of the tenor music — including the 
trying air, "The enemy said, 'I will pursue'" — so 
carefully and with such artistic correctness as to win 
unreserved commendation. 

Handel's Solomon is announced for the next con- 
cert (April 4). Some of the choruses in this orato- 
rio, to be performed on the second day of the Handel 
Festival, were rehearsed at the practice of the 1,600 
members of the "Handel Festival Choir," in Exeter 
Hall, yesterday evening. — il/«s. World. 

Monday Popular CoNCEitis. — The programme 
for March 17th included two Quartets : Beethoven's 
Op. 130, in A minor, and Mendelssohn's Op. 44, in 
E b — both played by Joachim, Ries, Webb and Pi- 
att! — the first and last named gentlemen being the 
first violinist and first 'cellist in Europe ; Dussek's 
"Plus Ultra " Sonata, played by Arabella Goddard ; 
and Mozart's Sonata Duo in A, played by Miss God- 
dard and Joachim. Also vocal pieces, sung by Miss 
Martin and Mr. Weiss, " the best of our English 
basses." 



Special |totites. 

DESCRIPTIVE LIST OF THE 
PubliHliCf] by Oliver DitHOii Sc Co. 



Vocal, with Piano Accompaniment, 

Echo Song. Jules Benedict 55 

This Song is perhaps not so well adapted for the 
Concert room as some others of the same name, with 
which the public has become familiar, but it is an ex- 
quisite Parlor Song, original in its conception and full 
of pleasing traits. It lies well for a medium voice. 

RobeH Bell 25 



A. Reichardt 25 



There's music in thy heart. 
Melodious and simple. 

Are they meant but to deceive. 

A ballad in Mazurka time, evidently written for 
Concert use. It is so strikingly pretty that it will 
nowhere fail of a good reception. Although not diffi- 
cult of execution, it wants ease and finish in its deliv- 
ery to render it effective. 

Charming Sue. Song and Chorus. Chas. Sloman 25 

A light trifle ; one of the successful Songs of the 
Christy's in London. 

God save the grand old stars and stripes. 

Mrs. S. C. Knight 25 

A fine composition for Solo Quartet and Chorus, 
which was sung last Sunday in many churches in this 
vicinity. It is grand and solemn, and nothing better 
could be chosen on similar occasions. 

Instrumental Music. 

The voice of Liberty. Grand March. Eben Wood 25 

Brilliant and effective, yet not difficult. 



West End Polka. (Illustrated.) 



C. D* Albert 50 



A good stirring Polka, which takes its name from 
the aristocratit: and fashionable quarter of London. 
The colored vignette represents a young lady in full 
dresa entering her carriage to drive to a ball. Carriage, 
footmen, servants &c , are done to life. 

Home, sweet home. Transcription. C. Voss 35 

Easier than Voss' arrangements generally are. This 
piece can be given to scholars of a year's practice. 

The BiUtle of Winchester. Ckas, Grobe. 25 

A musical memorial of this brilliant victory of 
the Union arms. The main incidents of the fight are 
related in connection with the music. 

Dreams ot Childhood Waltzes. 

W. II. Montgomery. 30 

These Waltzes are much played in England, both 
by bands and amateur Pianists. They are fluently 
written, have good melodies snd do excellent service 
in the ball-room. 

Books. 

Thalberg's L'art du Chant. (The Art of 
Singing applied to the piano.) Handsomely 
bound in cloth. 3,00 

The piano cannot render that which is most perfect 
in the beautiful art of singing, namely, the faculty of 
prolonging sounds, but the player may overcome this 
imperfection with addresR and skill. How this may 
be done, the great Player has shown in twelve Trans- 
criptions of melodies from the masterworks of great 
composers, The melody is engraved in large notes, 
80 as to stand out and be recognized easily. They are 
all figured, and are as invaluable to the accomplished 
pianist as to the student, who wonld get at the root 
of the marvellous effects which Thalberg produces in 
his playing. 



Music by MAn.— Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a saving- of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 





mml 0f 




Whole No. 525. 



BOSTON, SATURDAY, APRIL 26, 1862. 



Vol. XXI. No. 4. 



Translated for this Journal. 

From Felix Mendelssohn's ' Travelling- 
letters." 

(Coutinued from page 19). 

Lauterbrunnen, August 13, 1831. 
I have just come from a walk towards the 
Schmadri brook and the Breithorn. All that 
one imagines to himself of the sweep and gran- 
deur of the mountains, is pett}' in comparison 
with nature. That Goethe should have found it 
in him to write nothing from Switzerland but a 
couple of weak poems, and the still weaker 
letters, is just as incomprehensible to me, as much 
else in the world. The way here was outrageous 
again. Where six days ago there was the 
finest carriage road, it is now a wild jumble of 
rocks, huge blocks in abundance, pebbles, sand, 
— not a trace of human labor to be seen. The 
waters to be sure have wholly gone down, but 
they cannot keep quiet ; from time to time you 
hear how the stones are hurled about in them; 
the waterfalls too roll down black stones, in the 
midst of their white spray, into the valley. My 
guide showed me a pretty new house, that stood 
in the middle of the wild brook ; it belonged, he 
said, to his brother-in-law, and around it there 
had been a fine meadow, which had brought in a 
large income ; the man had been obliged to leave 
the house in the night, the meadow had vanished 
for all time, and stones and pebbles were left in 
its place. " He never was rich, but now he has 
become poor," was the conclusion of his serious 
story. 

It is singular, that in the midst of this frightful 
desolation (the Liitsohine has taken possession of 
the whole width of the valley), in the midst of 
the boggy meadows, and the blocks of stone, 
where no idea of a road remains, — that there 
should stand a char-a-banc, and probably it is the 
first thing to stay fi.\ed there. The people under- 
took to drive through during the storm ; then 
came the flood, — they had to leave carraige and 
all in the lurch, and there it stands now waiting. 
It was really awful to me, when we came to the 
spot, where the whole valley, with its roads and 
dams, has become a wide sea of stones, and when 
my guide, who went before me, kept murmuring 
to himself: 'sisch furcMhar ! ('tish fearful). Into 
the middle of the brook the water has dragged a 
couple of great trunks of trees, set them on end 
and rolled a couple of rocks against them, wedg- 
ing them in in such a way, that the bald trees 
stand half upright in the bed of the river. I 
should never leave off, if I should try to relate to 
you all the forms of desolation, which one sees 
between here and Unterseen. But the beauty 
of the valley has made a greater impression on 
me thereby, than I can tell ; it is an infinite pity, 
that you came no deeper into it that time, than 
to the Staubbach ; from there the Lauterbrunner 
valley properly begins ; the black Monch, with 
all the snow mountains behind him, grows more 
and more grand and mighty ; on all sides bright, 
sprayey waterfalls come into the valley i you get 



continually nearer to the snow mountains and the 
glaciers in the background, through the firforestsi 
and the oaks and maples. The moist meadows 
were covered with an endless multitude of varie- 
gated flowers, — adder's-tongue, wild Scablosa, 
blue-bells, and many other kinds. On the side 
the Lutschine had piled its blocks one upon 
another, and had brought down rocks, as my 
guide said, " bigger than an oven ; " then the 
carved brown houses, the hedges, — it is beautiful 
beyond everything, — Unluckily we could not 
reach the Schmadri brook, since bridges, roads 
and paths are gone ; but I shall never forget the 
walk ; I have also attempted to sketch the 
Monch ; but what can one expect to do with 
the little lead pencil ? Hegel says, to be sure, 
that every human thought is more sublime, than 
the whole of Nature : but here I find that far 
from modest. The sentence is very fine, bnt 
cursedly paradoxical ; I will hold on for one while 
to all Nature ; one gets on much more safely so. 

You know the situation of the inn here ; if 
you cannot remember it, take my old Swiss 
sketch book ; in that I have executed it (in every 
sense), and have invented a footpath into it in 
front, about which I laughed much in my thoughts 
today. I look now out of the same window, and 
gaze at the dark mountains ; for it is evening,and 
late, that is to say a quarter before eight, and I 
have an idea, which is sublimer than all Nature : 
I will go *o bed. So good night, my dears ! 

The lith. 10 o'clock in the morning. In the 
cow-keeper's cottage on the Wengern Alp; my 
greeting merely in the heavenly weather I — 

Grindelwald, evening. I could not write you 
more this morning ; it was hard to come away 
from the Jungfrau. But what a day this has 
been for me ! Ever since we were here together, 
I have wished to see the little Scheideck once 
more. So I awoke early this morning, almost 
fearful ; so much might happen to prevent : bad 
weather, clouds, rain, mist. But there was noth- 
ing of the sort. It was a day, such as might 
have been expressly made for my going over the 
Wengern Alp ; the sky streaked with white 
clouds, which floated high above the highest snow 
peaks; no mist below any mountain, and all the 
peaks gleaming so in the air, — every bend and 
every waU so clear and distinguishable — why 
shall I describe it ? The Wengern Alp you know 
indeed ; only we saw it in bad weather then ; but 
to-day all the mountains were in festal arraj ; 
there was nothing wanting, from the thundering 
avalanches to the Sunday, and the sprucely 
dressed people on their way down to church, — 
to-day as then. The mountains had remained in 
my memory only as great teeth ; mere height 
had taken too much hold of me at that time. 
To-day what struck me especially was this im- 
measurable breadth, the thick, wide masses, the 
grouping together of all these immense towers, 
as they reach the hand to one another and era- 
brace. Then think of all the glaciers, all the 
snow fields, all the rocky peaks so dazzling bright 
and flashing, — then the distant summits upon 



other chains, which seem to stretch over and peep 
in — that, I believe, is the way the thoughts of 
the good God look. He who does not know Him, 
can see Him and his Nature clearly here before 
his eyes. And, added to all that, the dear fresh 
air, which quickens one when he is weary, and 
cools one off when he is hot; and the abundance 
of springs. — About the nature of springs I will 
write you a special treatise some day ; but there 
it no time for it today, for I have something alto- 
gether apart to tell of. 

There now, you say, he has simply gone down, 
and found Switzerland beautiful again.— No, 
that is not it ; but when I came up to the Snen- 
^fiJten (cow-keepers' cottages), that is, high up on 
the Alps, upon a meadow, there was a great festi- 
val to-day, and from time to time you could see 
people climbing up in the distance. I was not 
at all tired ; an Alpine festival is not to be seen 
everj' day ; the weather said yes ; the guide was 
greatly pleased ; " let us go then to Itramen," 
said I. The old herdsman (Senner) went before, 
and so we had to take to climbing again vigor- 
ously ; for Itramen is still more than a thousand 
feet higher than the little Scheideck. The Sen- 
ner was a barbarous fellow ; he ran ahead all the 
time, like a cat ; presently my guide complained 
to him, and he relieved him of cloak and bundle ; 
these be carried, and still ran on before with 
them, so that we could not catch up with him. 
The way was terribly steep; but he praised it, 
because otherwise he would go by a shorter and 
steeper one. He was about 60 years old, and 
when my young guide and I had reached with 
difficulty the top of one hill, we always saw him 
disappearing down the farther side of a second 
one. We walked two hours now, over the most 
toilsome way I ever travelled, high up, then all 
down again, over rolling stones, and brooks and 
ditches, through a couple of snow fields, in the 
greatest solitude, without a footpath, without a 
trace of human hands ; at times we heard still 
the avalanches from the Jungfrau ; otherwise it 
was silent ; trees quite out of the question. 

Now after the stillness and the loneliness had 
lasted all the way, and we had clambered once 
more up a little grassy hill, we suddenly saw 
many, many people standing in a circle, talking, 
laughing, shouting. All were in the motley cos- 
tume, with flowers on their hats ; many young 
girls ; a couple of drinking tables with wine 
casks ; and, around, the great silence and the 
awful mountains.— It was strange : while I was 
climbing in tha wiy,|I thought of absolutely 
nothing but the rocks and stones, and the snow, 
and the way ; but the moment I saw men there, 
all that was forgotten, and I thought only of the 
men, and their sports, aud their merry feast. It 
was indeed splendid ; on a great green meadow, 
for above the clouds, was the theatre ; opposite 
loomed the snowy mountains heaven-high, espec- 
ially the dome of the great Eiger, the Schreck- 
horn, and the Wetterhorns, and all the rest as far 
as the Bliimlis Alp. In the misty depth, quite 
small, lay the Lauterbrunner valley and our 



26 



DWIGHT'S JOURNAL OF MUSIC. 



yesterday's route before us, with all the little 
waterfalls like silver threads, the houses like 
points, the trees like grass. Far beyond, too, 
out of the haziness came the lake of Thun occa- 
sionally. And now there was wj-estling, singing, 
drinking, laughing, — all healthy, vigorous people. 
I looked with great delight upon the wrestling, 
which I had never seen before ; then the girls 
regaled the men with Kii-schwa.iser and schnaps; 
the bottles passed from hand to hand, and I drank 
with the rest ; then I presented the little chil- 
dren with cakes, which made them happy ; then 
an old and very drunken peasant sang me some 
songs ; then they all sang ; then my guide too 
volunteered a modern song ; then two young fel- 
lows boxed. On the Alp everything pleased me. 
Until near evening 1 remained lying up there, 
aad acted as if I were at home. Then we sprang 
swiftly down into the Malten, saw soon the well- 
known inn with the windows glittering in the 
evening sun ; a fresh wind from the glaciers arose, 
- — that made us cool ; now it is already late ; we 
still hear avalanches from time to time, — and this 
has been my Sunday ! It was indeed a festival ! 

On the FaulUorn, August 15. 

Whew, how cold I am ! It is snowing hard out 
there, and storms and rages. We are more than 
8000 feet above the sea, had to come far over the 
snow, and now here I sit. One can see absolute- 
ly nothing ; the weather all day has been fright- 
ful. When I think of it, how cheerful it was 
yesterday, and how I wish that it may again be 
fine tomorrow, I feel that it is just so with one's 
whole life ; always hovering between wishing and 
regretting. Yesterday lies already so far off, so 
lived out and put behind me, as if I knew it only 
fi'om old recollection, and had almost not been 
present in it ; for since we have had to battle it 
five hours long to-day with rain-storm and mist, 
have stuck in mire, have seen nothing before us 
but grey vapors, — I have been unable to realize 
that it ever has been, or ever can be fine weath- 
er, and that I ever stretched myself upon that 
wet and marshy grass. Then everything here is 
so wintry ; heated room, thick snow, great coats, 
cold and frostj' people ; — I am in the highest inn 
in Europe, and as one in St. Peter's looks down 
upon all churches, and on the Simplon upon all 
roads, so I from here look down upon all taverns. 
But not figuratively , for there is little here in fact 
but a couple of boarded rooms. Never mind (in 
English) ; we will go to bed, and I will not watch 
my own breath any longer. Good night. Tom's 
a-cold. 

Hospital, Aug. 18. 

My diary has had to lie still for a couple of 
days, because I have time for nothing in the 
evening, but to dry my clothes and myself at the 
fire, and to warm myself, to sleep a great deal, to 
sigh over the weather, like the stove, behind 
which I lurked, and because I did not wish to 
weary you with everlasting repetitions, how deep 
I stuck in the mud, how incessantly it rained, and 
so on. Really I have in these days travelled 
through the most beautiful regions, and seen 
nothing but dull clouds, apd water, in the sky. 
from the sky, and on the ground. 

The places, which I had long wished to see, 
are passed by, without my being able to enjoy 
them. That gave me little appetite for writing, 
since I actually had to fight against the weather; 



and if it goes on so, I shall only write occasion- 
ally, since there is nothing to say, except " grey 
sky, mist and rain." I have been on the Faul- 
horn, on the great Scheideck, in the Grimsel- 
spital ; to-day I have come over the Grimsel and 
the Furca, and the most that I have seen has been 
the shabby corners of my umbrella, — the great 
mountains almost not at all. Once to-day tlie 
Finsteraarhorn came out, but it looked as mali- 
cious as if it wanted to eat one. And yet, when 
there was a half hour without rain, it was too 
beautiful. A foot journey through this country is 
really, even in such unfavorable weather, the 
most charming thing one can conceive of; with 
a clear sky the satisfaction must be more than 
one can bear. Therefore I must not complain 
of the weather, for there is still joy in abundance ; 
only in those last days one folt like Tantalus ; on 
the Scheideck the beginning of the Wetterhorn 
came out of the clouds sometimes ; this beginning 
alone was mighty and sublime beyond comparison, 
but more than the foot of the mountain I have 
not seen. On the Faulhorn I could not distin- 
guish objects fifty paces ofT, although I staid until 
ten in the morning. We had to descend upon 
the Scheideck in a violent snow storm, through 
a very wet and difficult way, made still more 
fatiguing by the incessant rain. At the Grimsel 
hospice we arrived again in rain and storm ; to- 
day I wanted to ascend the Seidelhorn, but had 
to give it up on account of the fog ; the Mayen- 
wand was shrouded in grey clouds, and only on 
the Furca did the Finsteraarhorn peep out for 
once. To make up for it, we have come here 
again in dreary rain and deep water. But all that 
is no matter. My guide is a nice fellow : if 
it is wet, we sing and yodle ; if it is dry, so much 
the better ; and although we have missed the 
principal things, still there has been enough to 
see. 

I pledge this time a quite especial friendship 
with the glaciers ; they are really the mightiest 
monsters one can see. How it is all tumbled one 
over the other ; here a row of pinnacles, there a 
multitude of boxes ; above, towers and walls; 
between, hollows and crevasses in all directions ; 
and all of this wonderfully pure ice, which will 
endure no earth ; which throws up instantly 
again upon the surface all thestones,sand,pcbbles, 
which the mountains have thrown down. Then 
the glorious color, when the sun shines on them, 
and the mysterious moving forward — (sometimes 
they have advanced a foot and a half in a day, 
so as to cause serious apprehensions among the 
people in the village, as the glacier came on so 
quietly, and so irresistibly ; for at such times it 
crushes stones and rocks in pieces, if they lie in 
its way) — then its wicked creaking and thunder- 
ing, and the rustling of all the little streams in 
it and around it — these are splendid wonders. 

I went inside the Rosenlaui glacier, which 
forms a sort of cavern, through which one can 
creep ; there it is all built as it were of emeralds, 
only more transparent. Above you, around you 
everywhere, you see the brooks circulating be- 
tween the masses of clear ice. In the middle of 
the narrow passage the ice has left a great round 
window, through which you look down into the 
valley ; then you go out again through an arch 
of ice, and high above there stand forever the 
black horns, from which the masses roll them- 
selves down with the boldest oscillations. The 
Rhone glacier is the most imposing one I know. 



and the sun shone just this morning as we were 
passing it. One can have liisown thoughts about 
things there ; and then too one still sees here and 
there a rock-horn, a snow field or two, waterfalls 
and bridges over them, wild stone precipices ; in 
short, however little one may see in Switzerland, 
it is always more than in the other countries. 

1 draw very industriously, and think I have 
made progress in it. Indeed, I have attempted 
to draw the Jungfrau ; one can refresh his mem- 
ory by it, and at least enjoy the thought of having 
made the sketch upon the \CTy spot. But when 
I see how people run through Switzerland, and 
find nothing especial in it, or in anything else, 
except themselves ; how they are not at all moved 
or thrilled by what they see; how cold and Phil- 
ister-like they stand before the mountains — I 
often want to beat them. Here are two English- 
men sitting by me, and an English lady on top 
of the stove, — they arc more wooden than sticks. 
I have travelled now for a day or two the same 
route with them ; if they had only spoken an- 
other word, except to find fault that there are no 
fire-places either here or at the Grimsel ! That 
there are mountains here, they have never men- 
tioned ; but their whole journey consists in scold- 
ing the guide, who laughs at them, disputing with 
the landlord, and yawning at one another. Eve- 
rything about them here is commonplace, because 
it looks commonplace in them ; hence they are no 
better off in Switzerland, than they would be in 
Bernasu.* I hold to this; happiness is relative. 
Another man would thank his God, that he could 
see all this. And so I will be that other ! 

Fluelcn, Aug. 19. 

A first-rate day of travel, beautiful and full and 
strong. When we wanted to set out at six o'clock 
this morning, it snowed and rained so furiously, 
that we were obliged to wait till nine. Then the 
sun came out, the clouds had to disperse, and we 
had bright, lovely weather all the way here. 
But now again already the heaviest rain clouds 
have gathered over the lake, so that certainly to- 
morrow the old mischief will break loose. But 
how heavenly it has been to-day ! so clear and 
sunny, — we have had the chcerfullest journey. 
You know tlie Gotthard road in its beauty ; one 
loses much, if he comes down from above, instead 
of ascending it from here ; for the grand surprise 
of the Urner-hch is wholly lost, and the new road, 
which is laid out with the splendor and conven- 
ience of the Simplon road, has destroyed the ef- 
fect of the Devil's Bridge; since a new, much 
bolder and bigger arch is built close by it, making 
the old bridge quite invisible, whereas the old 
crumbling ruins look far more wild and romantic. 
But if one loses the view toward Andermatt, and 
if the new Devil's Bridge is not very poetic, he 
goes merrily down hill all day long over the 
smoothest road, — actually flies past the scenery, 
and instead of being sprinkled as formerly by the 
waterfall, or endangered by the wind upon the 
bridge, he goes now liigh above the storm, secure- 
ly over between solid walls. We came by Gosch- 
enen and Wasen ; then appeared the mighty 
pines and beeches before Amsteg; then the glo- 
rious valley of Altorf, with the cottages, meadows, 
woods, rocks and snowy mountains. In Altorf 
we rested up at the old Capuchin cloister; and 
finally this evening here I sit on the shore of the 
Lake of the Four Cantons. To-morrow I intend 
to go over the lake to Lucerne, and to find letters 

» A small town in the flat country about Berlin.— Te. 



BOSTON, SATURDAY, APRIL 2 6, 18 6 2. 



27 



from you. I have just got clear of a party of 
young Berlin people, who have made almost the 
same tour with m3self, met one another over the 
whole ground again, and bored me terribly. Es- 
pecially repulsive to me was the patriotism of a 
lieutenant, a dyer, and a young carpenter, who 
all three wanted to upset France. 

Sarnen, the 20th. 
Early this morning I sailed, during continual 
rain, across the Lake of the Four Cantons, and 
found in Lucerne your dear letter of the 5th. 
As it contained the desired intelligence, I have 
at once concluded to make a three day's tour fo 
Unterwalden and the Briinig. Then I will get 
your latest letter in Lucerne, and then the way 
lies westerly, and out of Switzerland. But it 
will be hard for me to take leave. The land is 
beyond all conception beautiful, and although 
the weather is terrible again, — rain and storm 
all day long, and all night — yet the TeUsplaUe, 
Griitli, Brunnen and Schwyz, and this evening 
the dazzling green meadows in Unterwalden, 
were too beautiful to be forgotten. This green 
is something unique ; it refreshes the eyes, and 
the whole man. Your loving, prudent ma.'iims I 
will certainly follow, dear mother; but do not be 
anxious about me. I am not careless of my 
health, and I have not felt so well for a long time, 
as I have here in Switzerland, upon my foot jour- 
ney. If eating and drinking and sleeping and 
having music in one's head make a well man, 
then I, thank God, can call myself so; for my 
guide and I, we eat, and drink, and sing too, alas ! 
upon a wager. Only in sleeping do I still outdo 
him, and if I sometimes disturb his singing, by 
trumpet or oboe tones, he disturbs me in the 
morning for it in my sleeping. God willing, we 
will find ourselves together again glad and happy. 
Until then many a piece of diary must still wan- 
der off to you ; but that time too will quickly 
pass away, as all things quickly pass, except the 
best. And so we remain true and near to one 
another. Felix. 

(To be continued.) 



For Dwight's Journal of Music 

Church. Music and School Music. 

By J. H. Kappes, Prof, of Music, Shelbi/ville, Ky. 

" Wliich is to bo changed ? It is plain that one or 
tlie other must bo changed — we would say reformed, if 
we were certain wiiich way things were moving as to 
this. We speak chiefly concerning the music taught 
in our Female Colleges and Schools. When our 
young ladies are finislicd otf at one of our fashion- 
able High Schools, and returns home, the old Church 
music is decidedly. dull to her; she takes no part in 
it, and pines for sympathy. A neighboring church 
of some other order has introduced the fasliionable 
instrumental Music of the times ; she calls to hear 
their choir, becomes interested, is invited to join in 
the performance, and tlienceforth she is a regular 
sitter ; her admirers follow her, and then farewell to 
the Church of her simple-hearted parents. 

" We merely throw out the above for considera- 
tion, and invite its discussion." 

We were glad to notice the above paragraph 
in a recent number of the Educational liepository. 
You are right, Mr Editor ; it is by consideration 
and repeated discussion alone, that truth will 
eventually be elicited on the all-important sub- 
ject of Music as taught in our schools, compre- 
hending, as it does, attention to Church music in 
its strictest sense. This being a topic of personal 



and special interest, we shall venture the expres- 
sion of a few thoughts in answer to your question, 
" which is to be changed." It is plain, in our 
judgment, that reformation is impi ratively called 
for, both in the Church and in the School. First, 
our youth of bcth sexes are not properly instruct- 
ed in the nature and style of true Church music 
— and if they were, where could they attend 
cluirch and their musical taste and religious feel- 
ing not be constantly offended by the introduc- 
tion of airs into the public worship of God, the 
original design of which was to awaken far differ- 
ent emotions from those which belong to His holy 
service. Surely, if any young person possesses 
a correct musical taste, he or she can never enjoy 
much of the " fashionable instrumental music of 
the times." The performance of a choir rarely 
satisfies the truly pious congregation. Every 
devotional heart feels inclined to unite his voice 
in the praise of God — then why not take the 
necessary pains to become qualified for this im- 
portant duty ? There is no reason why any 
person, who possesses natural abilities — for there 
are few who do not possess sufBcient voice — may 
not learn to sing appropriate, well selected melo- 
dies in Church in a manner so correct as not to 
offend the nicest ear. It may be, that in the 
cases you have supposed, the aforesaid educated 
young ladies may be pardoned for preferring the 
" fashionable instrumental mnsic," if correctly 
performed, to the miserably drawledout " penny- 
royal " hymns which have gained favor in in some 
of the churches with which their " simple-hearted 
parents" may be couneoted — and yet, both the 
one and the other may be decidedly wrong, and, 
for aught we know, the young ladies themselves 
may be wrong, and thus all may n:!ed reforming 
together. This, we apprehend, is most likely the 
true state of the case. 

It is a matter of sincere congratulation, that so 
much attention is paid to the musical education 
of females. We only regret that the other sex 
do not share equally in their advantages. A 
large number of well qualified professors are ex- 
erting their utmost ability to elevate and im- 
prove the taste of the people in all the various 
branches of music. But in most of our schools, 
an attention to Church Music proper is woefully 
neglected. True, the young ladies may be daily 
assembled around the family altar — they may 
perhaps sing indifferently, never dreaming that 
music, as an art, has any higher claim upon their 
attention than mei-ely to afford them the means 
of making a brilliant impression at the social 
gathering, the musical soiree, or the school exhibi- 
tion. 

As a source of recreation and refined pleasure, 
music, perhaps, has no equal among her sister 
arts ; but it is as the handmaid of religion — as an 
aid to devotion, that she is to be chiefly prized. 
The refined, the highly educated, and especially 
the pious, then, should aim to lend their influence 
in the right direction. They should recognize 
the fact, that the highest style of music is Church 
music. Religion, with her exhaustless variety of 
topics, affords amplest scope for the most sublime 
eloquence; and do not the same glorious, sublime 
themes become a source of exalted inspiration 
to the pious and gifted musical composer ? Sup- 
pose there are those who cannot distinguish the 
difference between a secular air and a melody 
appropriate for the worship of God and the ex- 
pression of religious feeling. This does not prove 



that such difference does not exist. A blind man 
cannot perceive colors, j-et colors exist. By 
careful attention to the instruction of the rising 
generation, they may be taught the necessary 
distinction ; they may be taught to admire what 
is good because of its intrinsic merit. Secular 
and Church Music are designed to give exercise 
to an entirely different class of emotions; for in- 
stance, sentiments of praise and thanksgiving can 
not find suitable expression in the convivial shout 
or merry glee ; the martial tread of the stately 
march can not rouse chri.«tian courage ; nor the 
lively strains of patriotic ardor awaken spiritual 
zeal. Much less does the holy love of a pious 
heart toward the great benevolent Supreme bear 
any relation to that sensuous — yea, sensual love 
which enters so largely into many of those oper- 
atic airs, from which our compilers of sacred 
music have largely borrowed. Neither is true 
penitence for sin to be confounded with romantic 
sorrow and languishing melancholy. The voice 
of religion, when expressed by music, is replete 
with dignified joy, with manly tenderness; it 
breathes in tones of deep contrition and heart- 
felt love, while a spirit of awe for the great Un- 
seen subdues and chastens the whole. Some 
very good persons seem to think, because the 
Almighty is their friend, He may be approach- 
ed on the most familiar terms. Hence the lan- 
guage employed in religious gatherings, and 
the music selected to express religious emo- 
tions is such as would be appropriate only to the 
most ordinary intercourse between man and man ; 
it recognizes none of those lofty attributes which 
belong to the great Infinite. 

The young, while pursuing a course of educa- 
tion, should be taught to distinguish the different 
styles of the music and allow to each its charac- 
teristic place. There is one strict style of music, 
the so-called contrapuntal, where different melo- 
dies are subject to strict laws of combination and 
succession. The .style is dignified and solemn, 
well adapted for the exercises of the Church. It 
can be applied to the simplest air as well as the 
most complicated chorus. It is too dignified for 
the field of battle or the ball-room ; it suits not 
the sentimental lover in the expression of his 
tender passion ; it belongs only to the Church 
and can be most effectively used by choir singers. 
But we are decidedly in favor of congregational 
singing in Church, where none are excluded, not 
even the youngest, from participating. In order 
to unite all voices in the praise of God, the music 
selected should not be too difficult or compli- 
cated. The clioral is undoubtedly the very best 
style for this purpose. Tunes like " Old Hun- 
dred," "Dundee," " Mear," &c., are of this char- 
acter — compositions which, though simple in their 
structure, will never grow old. Melodies suited 
to congregational singing should be pleasing, such 
as a multitude, when convened, delight to sine ; 
not manufactured to order to fill some compilers 
pocket, but Tioly melodies, which spring into exis- 
tence, as it were, in some happy moment of in- 
spiration, from the heart and brain of a religious 
composer. Let us never forget, that the secular 
eifect should be sedulously excluded from the e.x- 
ercises of the Church. In the sanctuary of God 
ought to be worshippers, not warriors, not pleas- 
ure-seekers, not lovers ; they should endeavor, 
so far as possible, to ascend on the wings of mel- 
ody and devotion to the throne of the Most 
High. Anything in the language or in the music 



28 



DWIGHT'S JOUENAL OF MUSIC. 



employed for worship, which by its associations or 
sujrfiestions links the mind with other scenes, par- 
ticularly of a trifling character, ought never to 
be allowed. Young persons should be early ac- 
customed to hear suitable melodies used in the 
worship of God, whether around the domestic 
altar, in the Sabbath School or in the Church. 
Association is a power of the mind here to be re- 
garded of primary importance. 

How often is it that music, possessing but little 
intrinsic value, becomes beautiful to us by mere 
association. Can we not all recall many a rude 
air, to which in childhood we listened, among the 
fondly remembered scenes of home — airs breath- 
ed, perhaps, bj- lips and voices now cold and 
silent in death ? Rude as these compositions 
were, in an artistic sense, they possess, even now, 
to ns a beauty and pathos, for which we can ac- 
count on no other principle. Often, when alone, 
especially during the quiet hours of the holy 
Sabbath, we find ourselves insensibly gliding 
into the simple pathetic chorals ot the Church. 
Strains, heard long ago, come floating back 
from the hallowed past and invite the low tones 
of our slumbering instrument. It is not newer 
music, nor music of the week day, which charms 
us then — it is a sacred association with former 
Sabbath hours. Who, that has music in his soul, 
has not felt this ? Who has not fancied he re- 
cognized, with the returning echoes of early child- 
hood, the flitting pinions of the loved departed, 
and the thronging forms, that insensibly gather 
around him ? The associations of our Church 
music should be invariably of the Church. — 
Thoughts of the opera, the social gathering and 
of the pay saloon, should not be permitted to en- 
ter there. On this point, many of our preachers, 
though anxious to do good, are really doing harm. 
They are musical sinners, and should immediate- 
ly exercise repentance and reformation. 

Enter almost any one of our churches, Sunday 
Schools, or Prayer Meetings, and it is very pro- 
bable you will hear the preacher start a hymn to 
the tune of "Lilly Dale," "Home, Sweet Home," 
" Happy Land," or any other song which maj' 
happen to please his fancy. These are well 
enough in their place, but were never intended 
to express the sentiment of worship, or any reli- 
gious sentiment whatever. Compilers of Sacred 
Music, some of them men, who ought to act 
from a higher principal, seem to be influenced 
by no other motive, than to prepare a book, 
which shall sell well, by catering to the love 
of novelty and excitement, which too often per- 
vades the public mind. The God of this world 
has blinded their eyes, and a mere love of ^ain 
has been allowed to invade even the sacred pre- 
cincts of the Church, making her holy services a 
means of advancing their temporal interests. — 
Notice, if you please, the constantly increasing 
number of compilations of music, designed for 
use in the Church of God — compilations con- 
taining tunes of every variety of merit, selected 
from the musical storehouses of all Europe, from 
the dignified choral to the recruiting march, and 
jovial student song, or the enticing love ditty 
of the opera. These, then, are arranged and 
adapted to most excellent hymns, fitting, some of 
them, like a theatrical robe on a clergyman. It 
may seem strange, that such books should attain 
so speedy and wide-spread a popularity ; yet not 
strange when we regard the means employed to 
effect large sales. Influential music papers are 



immediately engaged to introduce immense pufls. 
Normal schools. Conventions, Singing Societies, 
&c., where these books are to be used exclusive- 
ly, are gotten up by those interested, until the 
public become thoroughly humbugged, Rarnum- 
ized on the subject of good church music. The 
choir must perform, the congregation listen and 
applaud, and then, farewell to all spiritual wor- 
ship. 

A short time since we received from the pub- 
lishers a work called " Wesleyan Sacred Harp," 
the very title of which is a misnomer. John 
AVesley was a cultivated and conscientious musi- 
cian, and would never, we fully believe, have 
given his sanction to much of the trash this 
book contains. There are, it is true, a sufHcient 
number of good tunes in the work, and for what 
reason the authors have introduced so many 
merely secular songs of inferior merit, and adapt- 
ed them to religious words, we are at a loss to 
conceive. The hymns, too, have been selected 
with the same want of correct taste. Side by 
side with some of the best hj-mns of the Hymn 
Book, we find the veriest doggerel rhymes, bj' no 
means deserving the name of poetry, worse, if 
possible, than the vile, trashy tunes that accom- 
pany them. 

But even the so-called popular collections, 
issued by the diflerent publishing houses, are not 
free from objection, since they can never serve 
the purpose of good congregational singing. The 
arrangements are mostly defective and the tunes 
too numerous, to say nothing of a large number 
which are entirely unworthy of their exalted 
companionship and ought, on that account alone, 
to be expelled. A congregation require but few 
tunes, certainly not more than fifty or seventy- 
five. These should be well learned, and sung in 
unison or in parts, and that education is wrong, 
no matter where or how acquired, which counte- 
nances or enjoys in any degree even the artistic 
performance of secular music in church. At the 
same time a miserable drawling out of miserable 
tunes, or even of good tunes, by a congregation, 
is equally to be deprecated. The education of 
our youth ought strictly to anticipate this object. 
Sacred music should be incorporated among the 
exercises of the school as a regular and daily 
study. Principals of Seminaries and musical in- 
stitutions should be thoroughly awake to the im- 
portance of this point. A musical education is 
by no means complete, because a young lady can 
play a few waltzes, polkas, &c., on the piano. — 
She may nevertheless possess a very incorrect 
taste regarding music, both secular and sacred. 
Her highest ambition doubtless is to please, and 
those who listen to her performances are rarely 
able to appreciate anything of value ; hence the 
temptation for both teachers and pupils to aim at 
nothing higher than what is demanded by a de- 
praved or uncultivated public taste ; consequent- 
ly, at the exhibitions of our Seminaries, pupils 
frequently receive extravagant praise for that, 
which is simply shoiv, possessing but little merit. 
The delighted public are not aware that it is com- 
paratively an easy thing for four young ladies 
to play on one piano, particularly if each plays 
with one hand. They do not, perhaps, discover 
that the charming strains of the violin, so skil- 
fully interwoven or superadded by the teacher, 
may cover serious deficiencies on the part of the 
performer on the piano. I refer here the reader 
to the last number in June, 1861, of DwigU's 



Journal, which contains, a very graphic descrip- 
tion of a musical exhibition by the teacher and 
pupils of one of the popular Kentucky female 
seminaries. 

A musical training of far greater value would 
probably be regarded much loss favorably by 
those who seek for mere display ; yet the fortun- 
ate possessor of such training might be able to 
make use of her talents for all the various pur- 
poses to which they ought to be applied. 

Any young lady, in whose education science 
and art have gone hand in hand, whose taste and 
intellect have been alike cultivated, will never 
degrade her acquisitions to purposes of vain 
ostentation ; yet, will she delight most sincerely 
in contributing to the happiness of her friends 
in the exercise of her voice or instrument in the 
domestic circle or at the social gathering ; but 
Inore especially will she be prepared to sing the 
praises of God in his sanctuary with heart and 
understanding. To accomplish these noble re- 
sults time and money should be freely expended ; 
and in accordance with these views,no pupil should 
be permitted to graduate from our female school 
without being able to sing correctly, at least fifty 
good chorals, selected with special reference to 
their use in the Church of which her parents are 
supposed to be members. 

The various religious denominations should 
unite in the preparation and adoption of a small 
tune book, containing an adequate number of 
tunes, the quintessence of chorals (say from fifty 
to seventy-five) to meet the wants of the Church, 
to be used as a companion of the hymn book. 
Let such a little book receive the sanction of the 
church ; especially let all preachers learn to sing 
those tunes well ; let the congregations, the fam- 
ilies and the Schools use them ; then shall we 
have uniformity, and uniformity of the right kind ; 
then will young and old unite their voices to- 
gether in hymning the songs of Zion and both 
receive alike pleasure and profit. 

It is gratifying to observe that some of 
our best minds seem to be thoroughly active 
on this subject, and active in the right direction. 
It is possible to prepare just such a little tune- 
book as we have recommended, and there can be 
no reasonable doubt but the experiment of its 
introduction would succeed ; and then how glor- 
ious the result ! Our congregations all over the 
land singing the same time-honored, highly ap- 
proved compositions of gifted and pious men ; 
compositions too, which possess an added value 
fiom their long association with the church and 
her holy ordinances. Then will there be no 
longer temptation for young ladies, "finished ofT' 
in our fashionable high schools, to leave the 
" Church of their simple-hearted parents " in 
search of something better in the way of church 
music. 



(From Novello's Musical Times.) 

Life and Labors of Vincent ITovello. 

,BT MART COWDEN CLAKKE. 
(Continued from Vol. XX. page 391.) 

The difficulty of publishing such works as were 
the early compositions and arrangements of Vincent 
Novello, can hardly be appreciated at the present 
day. Publishers could not then be found to run the 
risk ; and the expenses of enj^raving and printing 
had to be provided for by himself out of his hard 
earnings. At the same time he had almost to create 
the taste for such music among the public, by the 
production and execution of them in his own choir 
kt South Street. 

The separate accompaniments for the organ or 



BOSTON, SATURDAY, APRIL 2 6, 18 6 2. 



29 



pianoforte, which ai-e so familiar in the present day, 
were quite the exception in the early part of this 
century. Vincent Novello's works were among the 
first where a definite part was printed for the accom- 
panyist. Previously, vocal scores had only a line 
with the bass part, having the addition of figures to 
indicate the harmonies ; and the melodies of the var- 
ious parts had to bo gathered and adapted to the in- 
strument as the performance proceeded. 

Vincent Novello's first work, " Sacred Music in 
two volumes," dedicated to the Rev. Victor Frver, 
was received with very great favor. It was compiled 
from the music which had been most appreciated 
among that which had been collected in manuscript 
for the use of the choir at South Street ; and com- 
prised several long compositions of his own, includ- 
ing the "Salve Regina," "Alma Redemptoris," and 
other complete pieces, as well as the portions which he 
added to what is called "The Selected Mass." The 
Sanctus and Benedictus for five voices, and Hosan- 
na fugue — a composition which he had completed 
before his eighteenth year — may be pointed out as a 
specimen of remarkal)le beauty in five-part vocal 
composition. 

"Twelve Easy Masses" for small cHoirs were pub- 
lished shortly after ; of which three are original com- 
positions by himself; and the rest by Spanish, Por- 
tuguese and other authors. 

Two more works were commenced in books, ap- 
pearing from time to time over a considerable period, 
entitled "Motetts for the Morning Service," and 
"The Evening Service." These contain many of 
Vincent Novello's original compositions, which have 
remained constant favorites in the choirs of the 
Catholic Church, for whose services they were com- 
posed. 

The compositions of Vincent Novello are numer- 
ous, and many are of important length ; but they 
are much dispersed amid his various Collections, and 
they have Ijcen to a certain degree overshadowed by 
his still more abundant arrangements. His reputa- 
tion as a composer would probably have been greater 
than it is, had ho confined himself to the publication 
of his own compositions alone; but all his works 
were produced for special utility: and, bearing that 
object more in view than personal renown, he sup- 
plied the composition most adapted to the service re- 
quire !, without regard to whether it were composed by 
himself or another. Perhaps the secret of the suc- 
cess of his early publications, was not only their 
musical merit ; but that being compiled from the 
books of his own choir, they were all pieces which 
liad had the previous sanction of successful perform- 
ance. 

The chief of his musical compositions are to sa- 
cred words ; but he has also produced some very ap- 
proved compositions to secular words — songs, canzo- 
nets, glees, and choruses. In 18-33 the Manchester 
Prize for the best cheerful glee was awarded to his 
glee, " Old May Morning ;" at the same time that 
Sir Henry Bishop obtained the prize for the best 
serious glee. 

"The Infant's Prayer," a recitative and air, enjoy- 
ed a very extended popularity ; there having been 
sold of it upwards of seventy thousand copies ; and 
it is still in demand for school teaching from its pleas- 
ing and sterling merits. 

The Philharmonic Society having requested Vin- 
cent Novello to supply their concerts with an original 
cantata of his composition, he wrote for them the 
"Rosalba;" which contains soprano and contralto 
solos, a quartet and chorus, with full orchestral ac- 
companiments. 

The attention which Vincent Novello gave to 
psalmody, during some years of his life, tended very 
greatly to improve that simple branch of devotional 
music. Various denominations of Christians appli- 
ed to him to revise and renew their collections ; and 
how well he accomplished their requests by the har- 
monization of their tunes — avoiding extreme chords, 
yet ever maintaining a solid ecclesiastical harmony, 
flowing and melodious inner parts, combined with 
the utmost simplicity — is proved by the steadfast use 
made of them in the multitude of churches and chap- 
els where the various collections edited by him have 
been adopted. He was often desired by professional 
friends to contribute original psalm tunes to their 
collections ; and those he wrote for them are among 
the continued favorites of the congregations. In his 
latter days he made a manuscript assemblage of all 
these contributed psalm tunes, with a view to their 
being brought out in a collected form ; but the work 
has not yet been published. They are a hundred 
and fifty original psalm tunes ; two hundred and 
fifty adaptations of melodies by others ; and a hun- 
dred single and double chants. It is hoped that the 
publication of the original psalm tunes and chants 
may .still take place at an early period, if it should 
be found desirable. 



A simple enmueration of the various works of 
Vincent Novello would imply the reprinting almost 
the whole of the large catalogue of the Dean Street 
House, extending to two hundred pages; and, 
in addition to these, he editeil several important 
works for other publishers. It must therefore suf- 
fice to make a brief mention of some of those whose 
appearance had an influential effect upon the music 
of the period. 

Among these must certainly rank the edition of 
Mozart's and Haydn's Masses. When this was com- 
menced, the published Masses of Mozart were eight, 
including the Requiem ; and of Haydn, seven. These 
works were to be had only in full orchestral score, 
without separate accompaniment for the organ ; and 
these full scores were printed only abroad. Prom 
great research, and by the kind aid of those who 
possessed manuscript scores, Vincent Novello was 
enabled to publish eighteen Masses of Mozart and 
si.xteen of Haydn. These are not only printed in 
vocal score, with separate accompaniment, but also 
the separate orchestral and vocal parts are printed 
for the use of orchestras. Nothing has contributed 
more to the diffusion of good music than the printing 
of parts for orchestras ; and those who revel in the 
abundance of the present day (who may be supplied 
by the publisher, at the last moment. for a few pence), 
are not aware what were the previous difficulties of 
getting up even a small performance of classical 
music with accompaniment : when manuscript parts 
had to be made with much labor, uncertainty, and 
delay, from scores to be procured only by favor from 
a few amateur libraries. 

About the year 1824 Vincent Novello was request- 
ed by the authorities of the Fitzwilliam Museum, at 
Cambridge, to examine and report on the large col- 
lection of musical manuscripts which were in their 
librarv : and he spent considerable time in doing so ; 
making several visits to Cambridge, at his Own ex- 
pense, for that purpose. The ancient Italian school 
had his chief attention ; and a portion of the result 
of his researches he published, consisting of selec- 
tions from Bonno, Bononcini, Cafaro, Carissimi, 
Clari, Colonna, Conti, Durante, Fcroce, Jomelli, 
Leo, Lupi, L. Da Vittoria, Martini, Orlando di 
Lasso, Palestrina, Pergolesi, Perti. Stradella, &.o. 
Only about one-third of the extracts he thus made 
were published ; but fine specimens, calculated to fill 
ten volumes more, were copied from the library, and 
still remain in manuscript. 

The commercial difficulties and uncertainties of 
success, which had to be encountered in the earlier 
publications, having given place about 1825 to a 
steady demand for every new work that had the ail- 
vantage of bearing the name of Vincent Novello as 
editor, made the continuous flow of important works 
to be limited only bv his industry ; and the brief enu- 
meration of the titles of the more valuable works 
which appeared up to 1840, will show how great that 
industry must have been. 

"Purcell's S.acred Works" was a labor of much 
research and collation ; as the larger portion had 
remained in manuscript, dispersed in the choir-books 
of different cathedrals, or rare copies in the collec- 
tions of individuals. Vincent Novello presented the 
original manuscript copy he made of this work to 
the British Museum ; for, contrary to wont, it was 
in beautifully preservable form. The majority of 
his manuscripts (especially latterly), though most 
neatly and legibly written, were jotted down upon 
such mere odds and ends of music paper, and gen- 
erally stitched together (or rather threaded together, 
like a'file of papers), that they served but to be used 
by the printer, and then were thrown away or de- 
stroyed. 

To Boyce's celebrated Collection of Cathedral 
Music in three volumes, was not only added a separ- 
ate organ part, but the same was reprinted in separ- 
ate vocal parts. Similar organ parts were added by 
him to the four volumes of Boyce's own anthems, to 
the anthems and services of Greene, Croft, Kent, 
Clarke, Whitfield, and Nares ; and all these were 
likewise edited by him in single vocal parts. 

The "Cathedral Choir Book," a collection of 
music (in cheap and varied forms) selected from var- 
ious sources by himself, was another contribution to 
the large library of that branch of music which he 
edited. 

A careful revision of the fourteen principal orato- 
rios "by Handel included a separate accompaniment 
to each oratorio ; editing the oricinal orchestral and 
choral parts ; adding to Judas Maccaha:iis additional 
wind parts ; and superintending the cheap octavo 
additions of the scores. 

Similar editions of Haydn's Creation, Seasons, 
Passiojic, Tcntpesta ; and other oratorios by Rom- 
berg, iSpohr, Himmel, Biery, Graun, &c., he produc- 
ed in a variety of forms. Masses, cantatas, litanies, 
&c., by Beethoven, Hummel, Cherubini, Weber, 



Spohr, Biihler, Penoglio, Rossini and j?ingarelli, 
comprise limg works for which he arranged separate 
accompaniments, and which he edited in various 
forms. 

In the -shape of pianoforte arrangements for four 
hands, Vincent Novello familiarized several favorite 
operatic pieces of classical authors. His pianoforte 
duets from Mozart's Figaro, Idomeneo, and Cosi fan 
tutte ; and from Spohr's Faust, .hssonda. and ZeJitire 
and ylror, obtained favor; while the latter may bo 
said to have served first to introduce Spohr's opera 
music to English knowledge. 

Three extensive works for the use of organists, 
as voluntaries, or where voices are not at command, 
have been found of special utility ; if we may es- 
timate by the very great sale they have obtain- 
ed. They are : — The "Select Organ Pieces," 
three large volumes ; the " Cathedral Voluntaries," 
in two volumes ; and the " Short Melodies," in one 
volume. 

Vincent Novello had the rare privilege of com- 
pleting and giving to the public during his lifetime 
most of the more important works wliich he had un- 
dertaken ; among the exceptions to this rule, how- 
ever, was one of considerable volume, of which no 
part has yet licen published. He proposed to set to 
original or selected music the words appointed to be 
sung at the "Offertory " (a portion of the Roman 
Catholic Service) for every Festival contained in the 
Missal during the ecclesiastical year. Of the several 
series therein contained, about eighty have been com- 
pleted for those festivals distinguished as "Pro Tem- 
pore ;" and these were engraved and corrected ready 
for press. It is intended to give what are completed 
to the public at an early period. 

No man was more successful than Vincent Novel- 
lo in producing music in forms that placed it within 
reach of the least wealthy. He may be said to have 
created both demand aiid supply ; for, by his early 
efforts he introduced little-known works of great 
masters, thereby originating a taste and desire for 
them ; and, by his persevering toil, continued to 
bring them forth in such abundance and usable shape, 
that they bec.ime necessities not only to musicians, 
but aspirants in musical cultivation. Out of this 
abundance and usablcness grew the requisite cheap- 
ness which should place these sterling works within 
command of the large class of users that had been 
rendered so extensive ; and thus, numerous demand 
and numerous supply alike arose from Vincent No- 
vello's earnest devotion to his art. 

He had no bigotry in music. His wide embrac- 
ing appreciation had love for all really good music, 
whatever its peculiar character. From the ancient 
stores of Palestrina or old Gregorian music, to the 
modern opera or glee, — from each and all, the indus- 
try of Vincent Novello would in itself comprise a 
very varied collection of all the best styles of music. 

Vincent Novello's personal appearance is well in- 
dicated by the portrait given at the commencement of 
the present biographical sketch. The original pic- 
ture was one of his son Edward's first attempts in 
oil paintinsr ; and is a beautiful specimen of taste in 
coloring (the young artist had never had a single les- 
son in coloring), with fidelity in feature, figure, and 
expression. "The position of the head, the attitude, 
the shape and look of the hand, are all true ; and 
Mr. G. De Wilde's engraving has preserved these 
particulars of resemblance. Vincent Novello's 
stature was about middle height ; his person some- 
what stout ; his carriage and walk wonderfully ener- 
getic and purposeful ; his hands and feet remarkably 
small and white. On a certain occasion, the shape- 
liness and delicacy of these latter were made obvious ; 
when, going down to the shore to meet her father re- 
turning from a morning plunge in the sea, one of his 
daughters saw him take off bis shoo and shake out 
the sand that had drifted in, leaving his fair stocking- 
less foot revealed to view. No one seeing his hoots 
or shoes would have guessed the small size of his 
foot ; for he wore them to a magnitude more suited 
to a slipper-bath than to human ditnensions. He 
said he liked to have them eas;/ ; and the consequence 
was that they might have accommodated any amount 
of sea-sand in addition to the foot they shod, giving 
ready admission to whatever quantity chose to lodge 
there. His clothes were of an equally (what he call- 
ed) commodious make; and his cravat was always 
tied loosely enough to allow of his chin, as well as 
his throat, reposing roomily therein. He was early 
bald ; losing the chief portion of his hair when he 
was no older than sixand-twcnty. It preserved its 
brown color for many years ; and only latterly turned 
grev. 

His manners, when in good health, were social, 
gay and lively. Fond of conversation, he talkeil 
well and freely, when with those he intimately knew ; 
but be was retiring — nay, shy — with strangers. lie 
had a good deal of English reserve in bis bearing 



30 



DWIGHT'S JOURNAL OP MUSIC, 



towards tiio^e whom he met for the first time ; thono-h 
it wore oty on arqiuunftinoe, and vanished aItoji;etlier 
wiien he took a likinp; to them. He had a certain 
quiet pride, common to very modi.-st men ; conscious 
of innate merit, jet averse from self assertion. With 
his chosen friends he was easy, penial, cordial. With 
them lie trave way to mirth and good-Ccllowship ; 
laLij:;hed, hantercd, punned. He was a c^'sat punster ; 
and vied lionorahly with Charles Lamh, Lei^^h Himt, 
and Henry Rohertson, — those masters in the art of 
punning. 

Vincent Novello was no vocalist ; but once he was 
heard to sinn;. He was trying!- over some concerted 
piece from the score of "Don Giovanni ;" the part of 
Leporello was un^upplied, and he murmured the 
notes required. Tiiere was not much voice; hut the 
intervals taken truly, the phrases well phrased, the 
spirit of the music exquisitely given — bore witness 
to the musician's singinn;. 

His care in arranp:in^ — either the separate accom- 
paniment for ortran and pianoforte, or for four-hand 
duets — was manifested hy (amono; other things) the 
minute pains he took to make the passai;es "lie well 
under the hand." Often would the pen he placed 
between the lips, while tho finirers were spread and 
moved over the table as if in the act of playinj,^ ; so 
that he mi;i;ht mechanically test the most facile and 
best m.ode of arraufrino- the phrase under considera- 
tion. In "laying out'* works for pHntinsr, also, he 
spared no trouhle in devisinfj favorable turniniis, with 
well spaced bars, lines, and pasres ; and frequently, 
wiien dividinji: his manuscripts for this purpose, he 
would count up, with sliqlit rap'^ of his pencil on the 
paper, asking: half aloud : — '* How many sevens in 
fifty ?" And when the reply came from some one of 
those sitting: quietly near lorn, he would reply : ''Ay, 
it must he so-and-so. 

Vincent Novello was what is called shortsifichted ; 
that is, he used a p;hiss to dictimruish far-off ohjects 
But his sitrht was so naturally strnnp;, that he cnuld 
see to read a small print with a very slender allow- 
ance of li,sj;ht in the room, even at an advanced ap;e ; 
and durinir the twelvemonth preceding; the last year 
of his life, ho wrote some autoirraphs at the request 
of his eldest daughter, which were as clearly and 
steadily penned as his signature had ever been. 

She had the inestimable privilctre of beinc with 
him nii^ht and day tlironfrh his final illness at Nice. 
It was without pain ; he was patient, g:entle, affec- 
tionate, lon^inp; for rest. This was trr'mtcd to him 
on the eveniiiLT of the Pth of Au^rust, 1861. Had he 
lived until the 6th of the following: month, Septem- 
ber, he would have been eig;htv years of aire. After 
a life of unsparing: indu'^try, with the blessing of be- 
holding; his labors achieve honorable success in ad- 
vancinjr tlie art he loved so devotedly, his end was 
crowned hy pence. 

The most proper monument to a useful man's 
memory is that which he h:»s himself erected in the 
works he leaves behind him. But if ever a ceno- 
taph he erected in Engrland to the memory of Vin- 
cent Novello, the most appropriate site for it would 
be in Westminster Abbey ; an edifice he loved so 
well, and which he at one time made the termination 
of his daily walk, to *' g;o in and hear the anthem." 
His well-known place was a scat in the aisle, where 
Poet's Corner abuts upon the door to the cloister, — 
The old verg:ers called it '* Mr. Novello's seat;" and 
pointed it out to his Italian grandchildren when they 
came to En£;iand and visited the Abbey in I860' — 
There could hardly be a more fitting f^pot than the 
neig;liborhood of this seat for placing; a tablet-record 
of how mucli this eminent musician and estimable 
man contributed to the improvement of cathedral 
nnisic. 



Jlwtgljfs lourital of Sliisk. 



BOSTON, APRIL 26, 1862. 

MusTC IV THIS NusiDER. — Continuation of Chopin's 
MiiKurkas. 



Haydn's "Creation." 

This time.honored and lime-worn Oratorio, with 
the new singers engaf^od in it, attracted a large au- 
dienee to the Music Hall last Sunday even inpr, and 
the performance proved a very satisfactory one. Yet 
we cannot help thinking that the attendance would 
have been larficr and tho appetite lieener if the Han- 
del AND Haydn Society, instead of a worl: 
grown over-familiar with so many musical people, 
had announced say the " Hymn of Praise" by Men- 



delssohn, or the "Elijah" or " St. Paul," or any of 
those strong works of Handel, some of which are 
comparatively unfamiliar here, and few of which 
ever lose their freshness. Time-worn we have call- 
ed the " Creation," not as denying that it is full of 
beauties, that it has all the exquisite art and elegance 
and childlike naturalness of good old " father 
Haydn," or that it will live — but as intimating a 
rather common experience annong music-lovers, wlio 
have found that all its melody and beauty, all its felic- 
ities in the way of description, do not save it from a 
certain cloying and monotonous effect, hy tlie time 
one has listened to the first half of it ; and this pro- 
bably because its strength and depth bear so little 
proportion to its elegance and beauty ; because the 
infallible grace and fluency of style, and even the 
fine genial tone of feeling that pervades everything 
of Haydn, cannot make good the want of a more 
positive vitality of genius ; it all runs from one 
spring, hut there is no repeated smiting of the rock 
(in the strong way of Beethoven or Handel) causing 
new ones to gush forth. Yet we would not willingly 
let many years pass without a hearing of the " Crea- 
tion," if we can have it well performed. Every one 
has moods and periods to which its clear and sooth- 
ing harmony is very welcome ; and there is a large 
class of our older singers and music-lovers, wlio are 
of course especially gratified by every revival (so 
easy as it comes too'!}of this musical first love of their 
youth. Besides it is now several years — tour, we 
believe — since the "Creation" was last given here in 
Boston. 

The cliorus scats were quite well filled, and the 
choruses for the most part finely rendered; all know 
this old music so well, that the usual flooding of the 
stage with singers who first come in at the pulilic 
pei'formance, after evading the rehearsals (a sorry 
feature in most of our American societies) did not 
mar instead of making. The effective Alto force, 
however, is too feeble for the rest. The accompani- 
ments were nicely rendered by the orchestra under 
Mr. Zerrabn (conductor of the whole) ; and Mr. 
Lang did good service, as usual, at the organ and in 
piano accompaniment of recitatives. Of course a 
much larger orchestra, on the Birmingham or Lon- 
don scale, would have' made more imposing that 
introductory "Chaos" Symphony, which used to be 
thought such a miracle of graphic and sublime tone- 
painting (chiefly on the authority of English Gardi- 
ner's "Music of Nature"). That was before we 
knew Beethoven Symphonies and Mendelssohn 
Overtures ! 

Of the solo performances the first honors must be 
awarded to Miss Chapman, who, although in her 
Italian training untaught in this stylo of music, hav- 
ing learned the part in the six days before the con- 
cert, sang by far the largest part of the soprano airs 
in a style not hitherto surpassed, if equalled, by any 
of our native singers. Her fine, clear, powerful 
voice, although not naturally of the most sympa- 
thetic quality, proved fully equal to the task. There 
was style, spirit, character in it, even to the making 
of the rather weak and sentimental melody of the 
Adam and Eve part unusually interesting. The ar- 
tistic finish and ecstasy of Jenny Lind in " On 
mighty pens," " The marvellous works," &c., was 
not reached by a long way of course ; it would be 
rash to say it had tho quality of genius ; but it was 
extremely creditalile to the youug singer ; and there 
was a life in her appeal that always went home to the 
audience. 

Miss Gilson's small, sweet, pure voice was very 
pleasing in " With verdure clad " and a couple of 
the Trios ; but her delivery was tame, — timid per- 
haps — lacked life. Life too was the chief thing want- 
ing with the new tenor. Mr.. Hazelwood, who has a 
fine true voice, well cultivated, and sings in a certain 
quiet, even, tasteful style — but sleepily, with eyes 
fiistened to his book. The round, deep, manly bass 



of Mr. Whitney is a real acquisition to our Ora- 
torios. He has yet much to learn, but he made all 
the bass airs very telling and effective, descending in 
such large and stately manner to the lowest depths, 
as only Formes has done here before him. 



Concerts. 

Orchestral Union. — The thirteenth Afternoon 
Concert (Wednesday) gave us two sterling instru- 
mental works, of the kind one always listens to with 
a fresh interest. The first was Mozart's Don Gio- 
vciiini overture — a good thing to recall one's best 
hours at the Opera. Tho rendering was good too. 
The other, Mendelssohn's "Italian Symphony," was 
just the fresh, delicious tiling to answer to the feeling 
of those almost Italian spring days, which melted our 
Northern snows and tempted out the grass and young 
buds during the week past, and suddenly took us so 
far out of the heart and memory of winter, only to 
let Mephistopheles East Wind plunge us back again' 
We think the audience (a somewhat reduced one, al- 
though still quite large) enjo3'ed it with a sincere zest. 
Between these two classics, attention was relieved 
and senses tickled by a lusciously compounded 
Strau.ss waltz, " Wien mcin Slim" — whatever that 
may mean. — Then came an orchestral arrangement 
of Schubert's "Serenade," in which the melody was 
divided between the ohoe of De Eibas and the cor- 
net of Heinicke, both too long known as skilful 
players, to need to be more than named. 

The remainder of the programme consisted of a 
Potpowrri, from Robert le Diahk, and "Major General 
Burnside's Victory March." 

AVo go to press too early to notice this week the 
Orchestral Concert of the Boston Mozart Club, 
in aid of the Sanitary Commission, on Thursday 
evening. 

Another, a Promenade Concert, we would 
remind our readers, for the same patriotic object, 
will take place in the Music Hall this evening. Mme. 
Varian will sing ; the Germania Band will play, 
the Governor and his staiT will be present, and there 
will be patriotic speeches and other appropriate enter- 
tainments. 

Mr. Eioheerg's comic operetta, " The Doctor 
of Alcantara," is by general request to be repeated 
at the Boston Museum this evening. Its great success 
during the whole of last week will ensure a crowded 
house. 

Owing to the continued illness of Mr. Kreiss- 
MANN (who, we are glad to hear, however, is improv- 
ing) the Farewell Concert to Mr. Jansen, by the 
Orpheus Musical Society, remains indefinitely 
postponed. Doubtless the evening will soon be 
announced. 

The most interesting musical event now in pros- 
pect is the first production in this city of Mendels- 
sohn's Cantata to Goethe's poem " The First Wal- 
purgis Night," which Mr. B. J. Lang announces for 
next Saturday evening (May 3), at the Boston Music 
Hall. Everywhere in Germany, and in England, it 
is esteemed one of the most original and striking 
works of Mendelssohn. The hearty joy he had in 
composing it, as shown by his letters from Home 
(translated in recent numbers of this Journal), must 
help to interest us all in it beforehand. The "Wal- 
purgis Night" is not long, occupying only from 
twenty to thirty minutes ; and quite a novel feature 
in Mr. Lang's programme well the repetition of the 
whole work tlie same evening. We strongly incline 
to believe that this will prove a good plan. Every 
work of such importance, while it is new to us, 
requires to be heard twice, to give a clear idea of It, 
and fix the impressions in the mind. After once 
hearing the whole, from Iieginning to end, one first 
appreciates the full significance of each part in itsel 
and in its relation to the whole. There will be a fall 



BOSTON, SATUEDAY, APRIL 2 6, 18 6 2. 



oi 



orchestra to give effect to the spirited and gm]ihic 
overture and accompaniments, and a select ciiorus of 
1 50 voices. The solos will be sung by Mrs. Kemp- 
TON', Mr. J. Q. Wetiiebbee, Mr. S. W. Langmaid, 
Mr. W. H. Wadleigh and Mr. Etdek. The sub- 
ject of the poem and Cantata is suggested in the 
following note : 

[The German legend, that witclies and evil spirits 
assembled the night of the tirst of May on the sum- 
mit of the Harz mountains, is said to have originated 
in the heathen time, wlien the Christians tried to 
prevent the Druids from observing their accustomed 
rites of sacrifice. The Druiils placed watches round 
tlieir mountains, who, with their dreadful appearance 
hovering round the fires, and clashing their weapons, 
frightened away the enemy.] 

Between the two performances of the " Walpnrgis 
Night," a Grand Duo for two piano-fortes will be 
played by Mi.ss Maky Fay and Mr. Lang, and the 
orchestra will give Mendelssohn's " Midsummer 
Night's Dream " overture. 

Three American prima donnc are engaged at the 
two Italian Operas in London : Mile. Parti at Cov- 
ent Garden, and Miss Kellogg and Mme. Guerra- 
bella at Her Majesty's Theatre. Miss Kellogg is to 
make her debut in Linda early in May. She is al.so 
announced for the part of " Susanna," in the Mar- 
1 lai/e of Fii/aro 

This is not so certain as regards Miss Kellogg. 
It is true, she is announced in London, and the Musi- 
cal World is speculating as to whether the Kellogg 
will prove another Patti ; but if that clever young 
lady knew her own mind while in Boston lately, and 
has not changed it, she has dismissed all thought of 
going to Europe this year. 

One Signor Vallo, in Philadelphia, impressed 
with the idea that there are scores of singers in that 
city full of unemployed vocal and dramatic talent, 
proposes to organize an Opera Company, chiefly 
from Philadelphia musicians, to give operas in Ital 
ian, French, German and English. To this end he 
invites artists there and elsewhere to confer with him. 
Address 532 North Fourth Street. 



American piano-forte making is to be represented 
in the Great Exhibition in London by specimens of 
New York manufacture, doubtless with credit. But 
it must be a disappointment to many, wdio have felt 
a just pride for our country, and especially for Bos- 
ton, in this branch of art and industry, that the so 
long unrivalled house of Chickering & Sons have 
sent no instruments. The omission is explained by 
the following paragraph in the New York Some Jour- 
nal of tlie 19th : — 

Chickering and Qottsch.\lk. — Mr. Gottschalk i.s giving a 
series of concerts in the principa,! cities of the West, and the 
date of his return to tliis city is quite uncertain His popu- 
larity and success have not been surpa.'ssed by any artist who 
has visited this country. The pianos used by BIr. Gottschalk 
at his concerts, both in this city and the West, are from the 
manufactory of Messrs. Chickering & Sons, Boston ; and in 
order to prevent any disappointment, chey are obliged to keep 
several instruments en route, and in advance of him. Mr. 
Thalberg. in giving concerts throughout the countr3% was 
supplied in the same manner by this firm; and in a letter to 
them, remarked, "that their instruments gave universal sat- 
isfaction." Gustave Satter, Arthur Napoieon. Goldbeck, and 
other eminent pianists, have expressed themselves in the same 
terms of commendation. It was the intention of Messrs. 
Chickering & Sons to have sent samples of their manufitcture 
to the Great Exhibition in London this year. The iiianos were 
ready for shipment, but Mr. Gottschalk's movements being so 
rapid and numerous, and their de.-^ire to furuish him being 
paiamount to the exhibition, they have given up tlie idea of 
entering the tield ot competition ; and Gottschalk is now using 
the .same instruments that would otherwise have represented 
this house at the coming world's fair. 

5lMs.itaI (IDorrespnWnte. 

Philadelphia, Aepil 22. — The most important 
musical event here for sometime, was Mr. Mark 
Hassler's Complimentary Concert, given last night 
at the Academy of Music. Mr. Ilassler is a brother 
of our Violinist, whose concert in January last was 
duly chronicled in your columns. He is quite an 
artist, and very popular in this city. ^The Programme 
was as remarkable for the quantity of the music 
as for the quality ; although I would not be under- 



stood to disparage the latter. Judge of the state o"' 
your correspondent's mind afterhcaring a programme 
containing 14 respectably sized items, and half that 
number of Encores, withal ; concluding with the 
Conjuration and Benediction from the Huguenots at 
the hour of 11.30 P.M !— 

The concert was an eminent success, instrnmental- 
ly. With regard to Mad. Charlotte Varian, a 
lady hailing Boston-wards, who was paraded on the 
placards as as the vocal attraction, I choose to pre- 
serve a charitabla silence ; and the vocal quartette 
" This is the Lord's day," by C. Kredtzer, was not 
sung with the profound feeling and vigorous expres- 
sion, which I have hitherto found in the same singers. 
The orchestra was remarkable for a defect, character- 
istic, so far as my observation has extended, of Phil- 
adelphia orchestras, to wit, a lack of violins ; this 
has always maired the eflect of the Germania 
Kehearsals, and was noticeable particularly at this 
concert, where the strings were not increased propor- 
tionally to the other instruments, so tiiat in ihe forte 
pass.iges the horns and trombones had a dis.agreeable 
predominance, that interfered sadly with the just 
rendering of the music. There is no reason why 
this fault may not be remedied, since we have the 
material therefor close at hand, in abundance. Mr. 
Hassler was assisted by Messrs. Theo. Thomas, 
Theo. Ahreno, Violoncellist, William Mason, 
and Chas. Scmmitz;. 

The most prominent feature of the entertainment 
was the violoncello playing of Mr. Abrend, whose 
marvellous execution has, probably, no equal in this 
country, and none, it is fair to presume, either in 
England, or upon the Continent (!?) His performance 
of the " Souvenir de Suisse " of Servais was a mar- 
vel of musical possibilites. It was Mr. Ahrend's first 
appearance on the Concert stage for a number of 
years. We were all greatly delighted to hear Mr. 
Mason, who has not performed here for over five 
years ; his elegant performance of his two aharming 
hijoir, the "S)»w/Dawn," and the "Silver Spring," 
and the Schubert fantasia, symphonicallj' arranged 
for Piano and Orchestra by Liszt, was the very per- 
fection of piano playing. Mr. Thomas played 
Vieuxtemps' "Lucia," and De Beriot's " Tremolo,*' 
and the Andante from the Kreutzer Sonata; it were 
superfluous to refer to the many excellencies of this 
accomplished artist. 1 must not omit to mention the 
verv uniisual feature of a double Concerto for two 
'cellos by Dorzanner, performed by Messrs. Ahrend 
and Schmitz in splendid style, and to which I regret 
that I was prevented from paying close attention, by 
reason of the incessant gossiping of two fair damsels 
in unfortunate contiguity to my ears. 

The Overtures were our old friends the " William 
Tell " and the " Midsummer night's Dream ; " the 
one, the last and artistically labored effort of an expe- 
rienced and successful artist ; the other the first effort 
of a boy of si.xteen, the first expression of a mighty 
genius then unknown to fame. How widely different 
tliese two productions, and yet how great is each ! 
And yet is not Mendelssohn's the greatest ? Both 
are efl^orts at musical description ; but the Italian's is 
but a representation of the visible in nature; the Ger- 
man pictures to the fancy the invisible, the etherial. 
The Italian takes you an every day's journey — into 
Switzerland ; in the midst of her mountains and her 
lakes, you hear the storm in all its awful sublimity, 
you hear the tumult of the elemental war suhsiile 
into the placid calm of exhausted nature ircposing ; 
the echoing of the Alpine horns contribute to finish 
the picture ; it is a picture of every day life, the expe- 
rience of flesh and blood in the familiar manifesta- 
tions of nature. The German takes you farther than 
this ; you are transported into the magic country of 
the Poet's creation, Fairyland itself; there are "the 
tricksy spirits tripping it nimbly on the green, " the 
horns of Elf-land faintly blowing," the domain of 
the imagination as boundless as eternity itself, where 
fancy holds high revel, and to portray which the 
Italian bred up in the strict foruuilities of a " school" 
must, perforce, be inadequate. 

Last Saturday the Germania performed the entire 
"Jupiter " Symphony, in superior style ; the defici- 



ency in violins as above referred to, marred some of 
the efl'ects. 

Mr. A. UoLTgcnburger, a rising young violinist, 
and pupil of Carl Gaertner, starts for Europe in the 
next steamer : his intention is to enter the Paris Con- 
servatoire. Mr. R. is a young gentleman of great 
talent and energy, and is destined, I think, to become 
one of our first artists. 

Thursdav of this week, a concert will be given at 
tlie JMusical Fund Hall by Miss Henrietta Schmidt, 
quire a creditable performer on the violin, aiied ten 
years. This youthful artist is a pupil of Mr. Carl 
Weber, and has, undoubtedly, irreat talent. I heard 
her play, quite reccnlly, in private, and was aston- 
ished to hear so mu>-h execution from a child of her 
ye.-irs. She plaved amontr other pieces, a very diffi- 
cult "Souvenir de Bidlini." by Manrer. 

Among the musical on dits tliere is one to the effect 
that Mr. Seutz is soon to irive a concert, the chief 
atfi-action of wdiich will be the production of the 
"Scottish Symphony." Mercutio. 

iSIme. Clara Schu.iians was most enthusiastical- 
ly received at her first concert in Paris. She played 
Bach, Beethoven, Mendelssohn, and Schumann ; and 
there was no end of applause and calling out. On 
all sides she received the most distinguished atten- 
tions and the heartiest greetings from the musical 
world, with old Rossini at the head. The direction 
of the concerts of the Conservatoire have invited her 
to play at one of them. 

Vienna. — Mllc.Tiljens, the noblest fresh soprano 
of the last London Opera season, has entered into a 
contract with the direction of the Court Opera in 
Vienna, and will be attached to that after the present 
season. — About the beginning of this month the 
Viennese were rich in great musical expectations, 
having before them performances of Beethoven's 
great Missn Solennis in D, Bach's Passion music, and 
Schubert's opera "Fierahras." 

At the last Philharmonic concert the princip.al 
pieces were Beethoven's Corioian overture, Weber's 
•Ruler of Spirits " overture, and a fantastic Sym- 
phony, by Berlioz, " Episode from the life of an 
Artist," the music of which one of the critics finds 
to be " the opposite of all that is holy, noble and 
beautiful." 

The Euterpe have performed a sj'mphonyby their 
director, Herr Langwara. "Overladen with brass, 
and on the whole an imitation of the C minoi' Sym- 
phony of Schumann." 

London. 

Philharmonic Concerts. — The programme of 
the second concert (March 24th) was as follows: 
Paet I. 

Sinfouia "Die Weihe derToiie" Spohr 

Recitative and Aria, "Non mi dir" (Don Giovanni). Moziirt 

Caprice in E, Pianoforte W. S. Bennett 

Recitative and Aria, "Our hearts in childhood's morn" 

Gluck 

Overture ( Athalie) Mendelssohn 

Part II. 

Rinfonia in F. No. 8 Beethoven 

Duet, "Tornami a dir" Donizetti 

Prelude and Fugue alia Tarentella J. S. Bach 

Overture (Obercn) Weber 

Conductor — Professor Sterndale Bennett, Mus. D. 

Of the piano-forte pieces, played by Miss Arabella 
Goddat'd, the Musical World remarks : 

Among the compositions of Professor Sterndale 
Bennett, a more chastely conceived and cxqnisitoly 
finished movement than his Caprice for pianoforte, 
with orchestral acc(»mpanimenls, cannot he named. 
Miss Arabella Goddard has frequently int;oiIu<'ed 
this genial and charming work in pnlilic, and now, as 
on every previous occasion, gave it con amore. Her 
second piece — the "Prelude and Fugue nlla Tarantel- 
la" of .John Sebastian Bach, created a "furore." 
That such a work — so replete with fancy and vivaci- 
tv, as fresh and spirited, ,is tuneful, rhythmical, and 
full of strongly-markcil character as the famous Nea- 
|ioIitan dance in Masanicllo, or "La Danza" of Ros- 
sini (the two capital tarantellas of modern times), 
while immeasurably surpassing anything of tlie kind 
that has since appeared in varied effect and elaborate 
contrivance — should have preceded from a (>en the 
holder of wdiich has for upwards of a century ceased 
to live, is not less perplexinij: than the fact that the 
mechanical difficulties it contains are snflicient to 



32 



DWIGHT'S JOUENAL OF MUSIC 



deter the most expert performers of the present day 
from attempting its performance in public. It is said 
by Forkel, his biographer, that Bach composed 
this Prelude and Fugue "as an exorcise to keep his 
fingers in order." if this be true, what sort of a 
player the " Leipsic Cantor" must have been may 
easilj' be imagined. This age, however, is indisput- 
ably an age of " Bach revivals," so far as music is 
concerned ; and as at the Philharmonic Concert of a 
fortnight previous the old musician, represented by 
the magic bow of Herr Joachim, bore awav the palm 
from Weber, Viotti, Beethoven, and Cherubini, so on 
Monday night he fairly earned the laurel-crown with 
Spohr. Mendelssohn, Beethoven, Weber, and Stern- 
dale Bennett as competitors. The Prelude and 
Fugue of Miss Goddard, like the "Gavotte and 
Bourree" of Herr Joachim, won the honors and the 
most enthusiastic applause of the concert. 

CovENT Gakden Theatre. — The Koyal Italian 
Opera season for 1862 was to commence on the 8th 
of this month. The Director's prospectus offers 
only one novelty, Donizetti's Don Sebastien. The 
The principal revival will be Meyerbeer's Robert le 
Diahle, which has not been heard at Covent Garden 
for nine years. Other revivals will he La Flglia del 
Reggimenlo and L'Elisir d' Amore, with Mile. Patti, 
and Don Pasquale with Mile. Maria Battu (her first 
appearance in England) in the principal roles. Of 
Rossini's oper.as "William Tell" alone is mentioned, 
for the opening night. Mario is to appear in Fra 
Diavolo. The World says : 

From a general glance at the prospectus and the 
artists, we think we may fairly conclude that the 
season will be more of an Opera Comiqne than a 
"Grand" season. The operas appertaining to the 
repertories of Miles. Patti and Battu, and Mad. Mio- 
lan-Carvalho all belong to the lighter school of com- 
position ; and no doubt the three accomplished ladies 
will obtain their .share. Mile. Patti, by the way, is 
announced to perform Dinorah in Meyerbeer's opera. 

Although no single person is engaged ostensibly 
to fill up the vacuum left by Mad. Grisi, seeing that 
Mad. Penco is announced to appear as Donna Anna 
in Don Giovanni and Mad. Rosa Csillag as Valentine 
in the Huguenots, we may infer that the absence of 
the "Diva" will be compensated for in some partic- 
ulars. Mad. Csillag's Valentine will be a phenome- 
non. In addition to Mile. Marie Battu, Mile. Gor- 
dosa appears as a novelty in the list of ladies. Of 
this artist we know nothing. The tenors, with Sig. 
Mario, comprise Signers Taniberlik, Neri Baraldi. 
Rossi, Lucchesi and Gardoni. The engagement of 
Signor Gardoni cannot fail to gratify in the highest 
degree the subscribers and the public. Wonderful 
to relate, the tenors are all Italians. There is hope 
yet for Italian song ! And yet how weak the hope 
when it is shown that, in such a theatre as the Royal 
Italian Opera, among ten female artists only three 
are Italian, and among eleven basses, four. We beg 
pardon of the new basses, Signor Natmi and Cappo- 
ni, whose names are too Ausonian to admit a doubt 
of the country whence they are derived. Mt'sdames 
Rudersdorff, Tagliatico and Anese are at their posts 
as seconde donne — the first-named lady ready to do 
good service on occasions as prima donna. Mad. 
Nantier-Dide'e is again the contralto. The basses 
include all the names of last year, with the addition 
of Signor Delle-Sedie, who made so favorable an 
impression last year at the Lyceum Theatre, as Re- 
nato, in the Ballo in Maschera, and has been singing 
with distinguished success during the past season at 
the Italian Opera in Paris. The list of names now 
is unusually strong, comprising Signers, Messrs. and 
Heri;en, Ronconi, Graziani, Delle Sedie, Tagliafico, 
Faure, Ze]ger, Patriossi, Fellar, Nanni, Capponi and 
Formes. 

The director lays great stress upon the accomplish- 
ments and popularity of Mile. Adelina Patti. 

Paris. 

The new opera comique, by M. Albert Grisar, long 
talked about, has at length made its appearance. It 
was played for the first time the 18th March. The 
libretto by MM. Dumanoir and D'Ennery is a graft- 
ing of the story of Puss in Boots on the fable ot 
La Chatte metamorphosie en Femme, by Lafontaine, 
dramatized as early as 1827, by Scribe and M(Sles- 
ville. Having assumed the form feminine, the ere- 
while eat in the second act disguises herself as a page, 
and plays the part of the hooted cat in Perrault's 
tale, and in the third act marries her master. The 
subject is treated very smartly and pleasantly by 
the authors, who have inspired the composer 
with a great deal of light, pleasant and mirth- 



ful music, such as best fits his natural vein, and 
when it is said that Mad. Marie Cabel is the heroine, 
everything will have been told that can account for 
the very complete success of the work. 

Mad. Clara Schumann, the celebrated pianist, has 
returned to Paris, and given a concert, which was 
attended by an eager crowd of artists, and pure dile- 
tanli,whom she enthralled as only an artist of her com- 
manding talent can enthrall an audience so composed. 
Among the numbers of the programme was Robert 
Schumann's quintet, and it was wonderful to note 
how Mad. Schumann's masterly interpretation of the 
pianoforte part impressed her listcnei"s. Only the 
most gifted artists have this power of immediately 
seizing and retaining the attention ; and it is derived 
from a source far difl^erent from mere mechanical 
dexterity ; otherwise what an army of great artists 
would the world possess. 

The distinguished and unextingtiishable cantnfrice, 
Madame Viardot, sang last Sunday the part of Fides 
in the Prop/iete at the Grand Opera, although she 
was supposed to have performed for the last time 
during lier engagement the Friday previous. Mile. 
Marie Sax is fast taking her place as a star of prim- 
ary importance. Her Alice in liohert. le Diahle is a 
perform.ance of high merit, and she wins in it where- 
ever she plays it the most warm and genuine ap- 
plause. But honor and glory must be paid for, and 
every good has its drawback ; so if, on one hand, she 
has the honor of replacing Mad. Gueymard in the 
Heine de Saba, she must put up with a less welcome 
greatness being thurst upon her by being assigned 
the part of Laura in Pierre de Medicis. 

The Italian Opera has produced Olello with Tam- 
berlik as the Moor and Mad. Charton Demeur as 
Desdemona. 

Here is the programme of the last Concert at the 
Conservatoire: — 1. Symphony, Mozart; 2. Chorus 
of Spirits, Oheron, Weber ; 3. Concerto, violin, 
Beethoven, executed by M. Maurine; i. Scena and 
blessing of flags. Siege of Corinth, Rossini ("solo sung 
by M. Belval) ; 5. Overture to 2^nipa, He'rold. — 
Now for another programme. That of the seventh 
Popular Concert, on the model of tlie London Mon- 
day Popular Concerts (with Orchestra instead of 
quartet) was on the same day : — 1. Symphony in A 
major, Mendelssohn ; 2. Egmont, a tragedy by 
Goethe, music, Beethoven ; 3. Adagio of a quintet 
of Mozart, executed by M. Auroux (clarinet) with 
all the stringed instruments. — Cmt. London Musical 
World. 



Cologne. — The ninth Gesellschafts Concert took 
place under the direction of Herr Ferdinand Hiller, 
on the 18th inst., in the Giirzenich, when the follow- 
ing was the progiamme: First Part. — Symphony 
No. 1, in C major, Beethoven. " TenebriE facta; 
sunt," for chorus without aecomnaniment, Michael 
Haydn. Concerto (violin Gesangscene), Spohr, 
Herr Otto von Konigslow. Overture to Medea, 
Woldemar Bargiel (new). Second Part. — Concerto 
in G minor, pianoforte and orchestra, Mendelssohn, 
Herr Ferdinand Breuning. The Forty-Second 
Psalm, for solo, chorus and orchestra, Mendelssohn 
(soprano solo:) Mile. Julia Rothenberger). The 
symphony by Beethoven, which had not been heard 
for so long, that it was unknown to the majority of 
the audience, and once more extremely welcome to 
those who were already acquainted with it, was per- 
formed in excellent style The sacred composition 
of Michael Haydn — the learned contrapuntist, and 
author of more than a hundred pieces of music for 
the Church, the contented orchestral director and 
cathedral organist in Salzburg, whence the most en- 
ticing offers of Prince Esterhazy, and the aristocratic 
admirers of music in Vienna, as well as the wishes 
of his elder brother Joseph, could not turn him — 
was very well sung and produced a favorable im- 
pression. By his excellent rendering, in his own 
style, of Spohr's Concerto, Herr von Konigslow 
reaped a plenteous harvest of applause, and obtained 
the honor of being recalled. We cannot refrain 
from stating, however, that for our own part, we 
should have been better pleased with a less sentiment- 
al, and more energetic reading. By his overture, 
an imposing orchestral production, Herr Woldemar 
Bargiel achieved a gratifying success, evidenced by 
the loud and long continued applause of the audience. 
Herr Ferdinand Breuning's rendering of Mendels- 
sohn's Concerto was a masterly one. It excited the 
most lively applause, and a call for the artist who 
thus united the brilliancy of the virtuoso with the 
qualities of the sterling player. The execution of 
the well-known forty-.second Psalm, was far from up 
to the mark. Mile. Rothenberger sang the soprano 
solos in a satisfactory manner. There will be a per- 
formance of Beethoven's "Missa Solennis," on Palm 
Sunday, the 13th of April. — Niederrheinische Musik- 
Zeiiung. 



Special %^\xtt%, 

DESCUIPTIVE LIST OF THE 
PiibliHlieil br Oliver Ditson & Co. 



Vocal, with Piano Accompaniment. 

Where art thou, wandering little bird. F. Mon 25 

An effective Song by a distinguished English ballad- 
ist. It has often figured in London Concert Pro- 
grammes and seems an established favorite with the 
public there. 

If our fondest prayer. Ballad. Pietro Centemeri 25 

Mr. Centemeri has admirably succeeded in invent- 
ing a well fitting and singable melody to Byron's 
celebrated poem. It is written for the singing world 
at large, and is in all respects a good Parlor Song. 

Clear the track. Song and Chorus. W .H.Doane 25 

A patriotic Song for the million. The air is of that 
kind which, once started, spreads rapidly in all direc- 
tions. 

There's music in thy heart. Robert Bell 25 

Melodious and simple. 

Instrumental Music. 

Within a mile of Edinboro*. Transcribed. 

A Baumhack 25 

An elegant arrangement of medium difficulty. 
Cujus animam. Transcribed. Brinley Richards 40 

In this author's usual brilliant style. 
Almeda Quadrille. Robert Bell 35 

A rather simple Quadrille, well adapted for the 
Drawing-room. 

In memoriam of His R. H. the Prince Consort. 

An Elegy. Br'nley Richards 35 

A mournful, well measured air, o much beauty, 
and a fit musical tribute to the memory of one who 
was a musician of no mean ability. 

Musings by the Seashore. Komanza. J. von Joel 30 

A highly suggestive title, which, however, the music 
seems fully to bear out. The piece classes with such 
popular " Songs without words" as Richards' *'warb- 
liogsateve," Oesten's "Alpinebeils," &c. 

Capture of Island No. 10. Chas. Ch'obe 25 

A rather easy Rondo, somewhat descriptive, with a 
short narrative of this important event in the war for 
the Union. 

La Chapelle du foret. {The Chapel in the Forest) 

Idylle. Alb. Jungmann 40 

A very pretty Nocturne by this favorite writer, 
sparkling with the tinkle of the chapel-bell. A choral 
or slow chant introduced is of a peculiar and altogeher 
charming effect. It is but moderately difficult. 



Books. 

Thalberg's L'art du Chant. 
Singing applied to the piano.J 
bound in cloth. 



(The Art of 
Handsomely 

3,00 



The piano cannot render that which is most perfect 
in the beautiful art of singing, namely, the faculty of 
prolonging sounds, but the player may overcome this 
imperfection with address and skill. How this may 
be done, the great Player has shown in twelve Trans- 
criptions of melodies from the masterworks of great 
composers. The melody is engraved in large notes, 
BO as to stand out and be recognized easily. They are 
all figured, and are as invaluable to the accomplished 
pianist as to the student, who wonld get at the root 
of the marvellous effects which Thalberg produces in 
his playing. 



Music by Mail.— Music is sent by mail, the expense being 
about one cent on eaoh piece. Persons at a distance will find 
the conveyance a saving^ of time and expense In obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 




to ig It's laurttal rf 




Whole No. 526. 



BOSTON, SATURDAY, MAY 3, 18 6 2. 



Vol. XXI. No. 5. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 271- 

Engclberi:. August 23, 1831. 

My lieart is so full, I must tell it to you. I 
have just now, here in a most eharminir vallev, 
taken up Schiller's " William Tell " again, and 
have only read the first half scene ; — after all 
there is no Art like our German ! God knows, 
how it comes; but I think, that no other people 
can understand such a besrinnintr, to say nothing 
of making it. That is what T call a poem, and a 
beginning; first the clear, lucid verses, in which 
the mirrorlike, smooth lake and all chime to- 
gether ; and then the unimportant, prolix chat 
of the Swiss, and then Baumgarten's sudden 
appearance in the midst of them — it is indeed 
too divinely beautiful ! What is there not fresh, 
not vigorous, not transporting ? But in music 
there is as yet no such work ; and yet something 
as perfect mu.st some day he made. Then again 
it is really too good, that Schiller has created his 
whole Switzerland for himself; that everything 
is so faithfully portrayed, so strikingly true : the 
life, the people, nature, landscape, although he 
never saw the country himself. I felt at once 
very glad, when the old landlord here, in the 
high, lonely village, brought me from the cloister 
the book with the well-known characters and the 
familiar name; but the beginning has again sur- 
passed all my expectations. It is more than four 
years, too, since I have read it ; I will go over 
afterwards to the cloister, and vent my feelings 
somehow on the organ. 

Afternoon. Do not think it strange, but just 
read the first scene through once more, and then 
you will understand me. Such passages as that 
■where all the shepherds and hunters cry out : 
save him, save him, save him ! , or the end of the 
Griitli scene, where the sun is about to rise, really 
could have occurred only to a German, in fact 
only to Herr von Schiller; and the whole piece 
swarms with such passages. Let me only men- 
tion that, at the end of the second scene, where 
Tell comes to the house of Staufl^acher with the 
rescued Baumgarten, and closes the excited scene 
so calmly and securely ; that is, besides the 
beauty of the thought, so thoroughly and truly 
Swiss. Then the beginning of the Griitli scene. 
The Symphony, which the orchestra should play 
at the end, I have composed this morning in my 
thoughts, because I could not do much on the 
little organ. A multitude of things and plans 
have occurred to me. — There is a monstrous deal 
to do in the world, and I will be industrious 
What Goethe said to me : " Schiller could have 
turned out two great tragedies a year," had always 
inspired me with particular respect, in spite of 
its tradesman-like expression. But this morning 
for the first time it became quite clear to me, how 
much the observation meant, and I have seen 
that one must gather up his faculties. — Even the 
errors in the play are amiable, and there is some- 



thing great in them : and while Bertha, and Ru. 
denz, and the old Attinghausen seem tome great 
weaknesses, one can still see how he had his objec 
jn all that, and how he had to make it just so ; 
and it is consoling, that so great a man has made 
for once so great a failure. I have had a very 
happy morning by the means, and it has put mc 
in that mood, in which one wishes such a man back 
to life again, so that he may express his thankful- 
ness to him ; and in which one longs to make 
something himself some day, which may trans- 
port another into such a mood hereafter. 

You will hardly comprehend how I came to 
settle down here regularly in Engelberg. It 
happened thus. Since I was in Unterseen I have 
not had a day of rest, and so I wished to stay a 
day in Meiringen, but let the lovely weather of 
the morning entice me on as far as here. On 
the mountains the usual rain and storm overtook 
me again, so that I arrived considerably fatigued. 
Now there is here the neatest inn one can imag- 
ine, clean, orderly, very small and rustic ; an old 
white-haired landlord ; the wooden house stands 
back from the road alone upon a meadow ; the 
people are as friendly and good-natured, as if one 
were at home. — This sort of charm too one finds 
only with people who speak German, I believe ; 
at least I have never met with it anywhere else ; 
and if people of other countries do not miss that, 
or hardly like it, I am just from Hamburg, and 
find it very homelike and agreeable. So that it 
is no wonder, that I have made my day of rest 
here to-day, with these honest old people. My 
room is full of windows on all sides, looking out 
upon the valley ; wainscoated with handsome 
wood from top to bottom ; divers moral maxims 
and a crucifix hang upon the wall ; a stout green 
stove, with a bench all round it ; two high beds. 
As I lie in my bed, I have the following pros- 
pect : 

[Pen sketch.] 
Here again I have failed to get the buildings 
right, or the mountains either; but I think I can 
show it to you better in my book, if the weather 
is tolerable to-morrow. The valley, I suspect, 
will become one of the dearest tome in all Swit- 
zerland ; as yet I have not seen the mighty 
mountains, by which it is enclosed ; they were 
covered with mist all day ; but the wondrous 
lovely meadows, the many brooks, the houses and 
foot of the mountains, so much of them as comes 
in sight, are beautiful above all things. The 
green especially in Unterwalden is more splendid 
than in any other Canton, and it is famous even 
among the Swiss for its matlen. The journey 
from Sarnen, to begin with, was charming,|and 
finer, larger trees or a more fruitful land I never 
saw, than there. Besides the way is as little 
difficult, as if one only went to walk in a great 
garden ; the slopes are overgrown with tall, 
slender beech trees ; the stones all covered with 
moss and weeds ; springs, brooks, little lakes, 
houses, — on one side the view toward Unterwal- 
den with its green meadows; then in a few 
minutes the entire Hasli-thal, with the snow 



mountains, and the cascades from the rock walls ; 
and all along the way is shaded by thick, power- 
ful trees. Now yesterday morning, as I have said, 
I let the sunshine mislead me into coming thiough 
the Genthel-thal upon the ridge ; but on the ridge 
the frightfulest weather overtook us again ; we had 
to come through the snow, and the excursion be- 
came once or twice unpleasant. But presently 
we came out of the rain and snow, and then 
there was a heavenly moment, when the clouds 
lifled, and we still stood in them, and far below 
us, as if throush a black veil, saw the green 
Engelberg valley appear through the mists. 
Then we came swiftly down ; presently we heard 
the clear convent bell ring Ave Maria, and then 
saw the white building lying in the meadows, 
and after a nine hours' journey arrived here. 
How good it feels then to be in such a friendly 
inn, and how the rice cooked in milk tastes, and 
how long one sleeps into the next morning, let 
me be silent. 

To-day it has been gloomy weather again all 
day. They brought me " William Tell" from 
the convent library, and the rest you know. It 
strikes me still, how great a failure Schiller has 
made of Rudenz ; for the whole character is too 
weak, and without any motive, and it is just as 
if he purposely meant to represent him badly. 
The words, which he speaks in the scene with 
the apple, would raise him ; but then the scene 
with Bertha came before, so that must pass for 
nothing. When he joins the Swiss afler the 
death of Altinghausen, you think he is entirely 
changed ; but instantly he pops out with the in- 
formation that his Bertha has been snatched from 
him ; and so again it is no merit of his. It has 
occurred to me, that if he should speak the brave 
words against Gessler precisely so, without the 
scene with Bertha preceding, and if such a scene 
should spring out of it in the following act, the 
character would certainly be much better, and 
the declaration scene less purely theatrical, than 
it is now. But that may be killing the hen to 
get the egg, and I should like to hear your opin- 
ion about it. One cannot speak of such things 
to a learned man ; the gentlemen are too shrewd. 
But if I chance to meet in these days one of the 
newer young poets, who look down upon Schiller, 
and only partially approve him, it will be his mis- 
fortune, for I will trample him to death. — Now 
good night ; to-morrow I must get up early ; it is 
a great festival day in the convent, and solemn 
service, and I have got to play the organ for 
them. The monks listened this morning, as I 
improvised a little ; it pleased them, and so they 
have invited me to play the feast day in and out 
to-morrow. The Pater organist has also given 
me a theme, to improvise upon ; it is a bettor one 
than ever could occur to any organist in Italy : 
f Adagio. 

Now I will see, what I will make of it to-mor- 
row. I have also played this afternoon in the 



34 



DWIGHT'S JOURNAL OF MUSIC. 



church there a couple of new organ pieces by 
myself; they sounded pretty well. When I 
passed the cloister in the evening, the church 
was closed, and scarcely were the doors shut, 
when the monks began to sing aloud the Noc- 
turnes in the dark church. They intoned the 
deep B natural. It sounded superbly, and 
one could hear it still far down the valley. 

August 24. 
This -was a day again ! The most splendid, 
brightest weather, blue sky such as I have not 
seen since Chamouni ; festival in the village, and 
on all the mountains. When one after long mist 
and misfortune sees again some morning from the 
■window the entire, pure mountain chain, with 
all the peaks, it does him a deal of good. You 
know they are most beautiful after rain ; but to- 
day they looked as clear as the egg just out of 
the shell. The valley is second to none in Swit- 
zerland ; if I ever come this way again, it shall 
be my chief point; it is even lovelier, and broad- 
er and freer than Chamouni, and airier than In- 
terlaken. The Spannorter are incredible jags, 
and the round Titlis, laden with snow, with his 
foot in the meadows, and the Urner rocks in the 
distance, are not bad either. Now we have full 
moon besides ; the valley is dressed up, I have 
done nothing but draw and play the organ all 
day long. This morning I discharued my duty 
as organist ; it was splendid then. The organ is 
close by the high altar, near the choir stalls for 
the pab-ea. So I took my place in the midst of 
the monks, a true Saul among the prophets ; by 
my side an ugly Benedictine scraped the double- 
bass, some others fiddles ; one of the Tionoratiores 
played the leading fiddle. The pater prceceptor 
stood before me, sang solo, and directed with a 
long stick as thick as your arm ; the pupils of 
the convent in their black cowls formed the 
chorus ; an old, reduced countryman played with 
them on an old, reduced oboe ; and quite in the 
distance sat two, quietly tooting away into great 
trumpets with green tassels. And for all that 
the thing was very edifying ; one could not help 
liking the people, for they had zeal, and all worl - 
ed as well as they could. A Mass by Emmerich 
was given ; every note had its cue and its pow- 
der ; I played the general bass faithfully from my 
figured part ; put in wind instruments from time 
to time, when it grew tedious to me, made also 
the Responsnria, improvised upon the given 
theme, was finally obliged, at the desire of the 
prelate, to play a march, hard as it came to me 
upon the organ, and was dismissed with honor. 

This afternoon I had to play before the monks 
again alone ; they gave me the nicest themes in 
the world, among othc rs the Credo. I made a 
successful fantasia on it ; it is the first in my life, 
which I would like to have written down ; but I 
only recall the general drift of it, and beg per- 
mission to insert a passage of it here, which I 
shonld not like to forget, for Fanny. By degrees 
there came in more and more counter-themes 
against the Canto fermo, first pointed notes, then 
triplets, at last rapid sixteenths, out of which the 
Credo had to work itself again continually ; but 
quite at the end the sixteenths went mad, and 
there came arpeggios over the whole organ in G 
minor ; then in long notes (the arpeggios still 
continuing) I took the theme in the pedal, so 
that it closed with A ; on the A now I made an 
organ-point in arpeggios, and then it suddenly 
occurred to me to make the arpeggios with the 



left hand alone, so that the right could set in far 
above with the Credo again, somewhat in this 
manner : 

# ^'?«<i »r^^ — - 






"^•■W^. 



% 



'^^^^[ 



Then came a hold upon the last note, and a 
pause, and then it closed. I wish you could have 
heard it ; I believe it would have pleased you. — 
Then the monks had to go in to Complel, and we 
took right hearty leave of one another. They 
wanted to give me letters of introduction for 
some other places in Unterwalden, but I forbade 
it, because I intend to go to-morrow morning to 
Lucerne; and then in five or six days I shall be 
out of Switzerland. Your Felix. 

(To be continued.) 



Translated for this Journal. 

Franz Schubert. 

A BIOGRAPHICAL SKETCH. 

From the German of Dr. riEiNUlCff von Kheissie. 

(Continued from page 9.) 

We now leave SchnViert's vocal works, to turn to 
his compositions for instruments and cursorily glance 
over the most Important ot them. 

Let us tnke up then first his conipopitions for the 
Piano. We mpntionecl ahovc that he composed for 
this instrument in his early youth. In 1810 he wrote 
a Fantasia for four hands, which was followed in 
1811 by a second and in 1813 by a third. In 181.5 
he composed the Sonatas in F and and in 1816 a 
Sonata in F. They were succeeded in the years 1817 
and 1818 hy no less than six Sonatas (in E flat, F 
minor, A minor, A flat major, C and F) ; and those 
again by others in the next years, uutil their long 
series was closed hy the three grand Sonatas in C 
minor, A and B flat, composed in the last year of his 
life. These last. three Sonatas, Schuhert intended to 
dedicate to Hummel, whom he esteemed very hic-hly ; 
his deatli intervening, the publishers dedicated them 
to Robert Schumann. Besides these Sonatas, the 
following have been published : 

Grand Sonata in A minor, op. 42, dedicated to the 
Arch-Duke Eudolph. 

Grand Sonata in D major, op 53, dedicated to Mr. 
Bokle. 

Grand Sonata in E flat major. 

Grand Sonata in A minor, op. 143, hy the publish- 
ers dedicated to Mendelssohn. 

Grand Sonata in B major, op. 147, dedicated to 
Thalberg by the publishers. 

Grand Sonata in A minor, op. 164. 

Grand Sonata in A major, op. 120 ; the Fantasie 
op. 78, (Andante, Menuetto, Allegretto); and the 
Fragment,op. 145. 

There are not wanting some among these Piano- 
forte pieces, that do great honor to their composer; 
indeed several of these Sonatas, to which in a less 
strict sense the Fantasia,op. 78, belongs, have hardly 
been surpassed by other compositions of the same 
class for the Piano in the time after Beethoven. 

The Sonata in A minor op. 42, those in D op. 53, 
in A major op. 120, and the Fantasia op. 78 are 
especially interesting and charming compositions. It 
was a strange accident that just those Sonatas were 
dedicated to Rob. Schumann, the enthnsiastic admir- 
er of Schubert's genius and especially of his compo- 
sitions for the Piano, which seemed to him somewhat 
strange " on accouht of the simplicity of invention." 
" The Sonatas," Schumann writes of them in his 
musical paper (A'fM? Zeilschrifi fur Ulusik) "have 
been designated (by the publishers) as the last work 



of Sehnbert, and strangely enough. A person, who 
knew nothing of the time when they were composed, 
might jjerhaps judge differently — as X myself would 
have placed them in an earlier period of the artist. 
As for me the Trio in E flat major always appeared 
to me as Schubert's last work, as his most individual 
and original work. It would he superhuman, to bo 
sure, that e man, composing as much and as much 
daily as Schubert did, should constantly write better 
and in every new eflTort surpass himself; and thns 
these Sonatas may really be the last works by him. 
Whether be wrote them on the sickbed, or not, I 
could not leai'n ; the music seems to warrant the first 
conclusion. Be that as it may, these Sonatas seem 
to nie strikingly different from his others. This 
appears especially in the much greater simplicity of 
invention, in giving up voluntarily brilliant novelty, 
wiiile in other works lie demands so much of himself, 
in the lengthy treatment of certain general mu^ic&l 
ideas, instead of twining in new threads from period 
to period. As if it never would come to an end, 
never troubled for a continuation, ever musical and 
melodious the piece runs on from page to page, 
now and tiien interrupted by stronger uphcavings, 
which however soon subside atiain. This is the 
impression they made on me. Cheerfully and grace- 
fully and kindly he comes to a cIo.se, as if he might 
begin the next day anew." 

Scbumadn has excellently characterized in this 
passage the amiability and unceasing creative impulse 
of his favorite, and one remark be makes"in speaking 
of these three Sonotos, may he applied to about all 
Schubert's Piano music. The " stronger upheiiv- 
ing " namely, the energetic chords anil powerful pas- 
sages, generally very soon give way in the most 
gracefiil manner to melodious, qideting ones, as it so 
frequently happens in the first movements of the 
Sonatas. Swiftly on the contrary and with fire, 
sometimes in the rhythm of Hungarian dance, the 
last movement often hastens over far-stretching dis- 
tances to the close ; the Scherzi .are full of originality 
and somewhat in Beethoven's manner ; in the An- 
dante we generally hear a simple, beautiful song^ 
sometimes carried on in charming variations. 

The most significant and largest piece for the 
Piano, next to the Sonatas, written hy Schuhert, is 
the grand Fantasia in C, op. 1 5. It is likewise full 
of melodic beauties and original traits, but refuses to 
come within the bounds of strict form, being a free 
play of his imagination still more decidedly than is 
the ease in other instrumental pieces by Schubert. 
On the other hand the whole plan and treatment of 
this piece so invites orchestral treatment, with the 
exception of the melodious passage in the middle of 
the piece, that Franz Liszt, correctly recognizing its 
symphonic character, composed an orchestral accom- 
paniment for it, with his peculiar mastery for just 
such arrangements. In this form the Fantasia has 
been performed several times in Vienna. 

Besides the Piano pieces just mentioned, Schubert 
composed many others, in smaller forms, among 
which are the ten Variations (composed in 1815), a 
Scherzo and Trio (composed in 1817), an Allegretto 
(for Herr Waleher as a memento, composed in 1827) 
an Adagio, a March with Trio, the well known 
Impromptus and Moments musicals, for the greater part 
very charming compositions full of genius, and lastly 
a considerable number of dances. Among the latter 
the greater number are AUemandes and Laendlerl 
owing their origin mostly to Schubert's improvisaj. 
tions at famtly-balls, and published afterwards undeiy 
the title of " First Waltzes, Original Dances " (conj- 
taining the well-known Waltz of mourning, or Le 
Desire*) "Laendler and Waltzes" (two books)! 
" German dances," known under the name Of 
" Homage to the beautiful Viennese ladies," " Valsert 
nobles and sentimentales," " Gratzerf Waltze3,'f 

* Jlroneouely ascribed to Beethoven. J 

t Gratz is the capital of Styria. Tr. 



BOSTON, SATURDAY, MAY 3, 18 6 2. 



35 



and " Last Waltzes." Berides these he also com- 
posed Galopps avd E:oi^mses. 

He also composed a great numher of fonr-hand 
pieces for the Piano. Prominent among them are : 
the Fantasia in F minor, dedicated to the Countess 
Caroline Esterhazy, a piece of music well known 
and mnch pUiyed on account of its noble beauty; 
the Variations on a French song, dedicated to Beet- 
hoven and the " Divprtissemmt en forme d'line mnrche 
hrillante e raisonn€e." There are to be mentioned 
besides these, the eight Variations on a tlieme from 
Herold's opera " Marie," and eight Variations on an 
original theme ; an Avdant/'no vari^ et Rondeau hril- 
lant on French original motives a grand ; Rondo in A 
(op. 107) ; a Sonata dedicated to Count Pal ffy ; a 
second one (op. 30) ; the grand Duo composed in 
June, 1824, (op. 140) ; the Fague in F minor, com- 
posed in 1823 in Baden, the Overture in A flat (op. 
34) ; and the " Storms of life," composed in May, 
1828. With these compositions may be classed : the 
Divertissement a hi Bonqroise^ an extended piece of 
music (composed in 1818 in Zele'z) in which Hun- 
garian motives appear, treated in a charming and 
fine manner ; * six Polon;\ises and Trios ; also four 
Polonaises with Trios ; and finally the various 
Marche=, as : Military and Heroic Marches ; six 
marches and 'six Trios ; the "Marches charncleris- 
ti(pies ;" the Dirge for the funeral of the emperor 
Alexander of Russia, and Mnrche heroiqne for the 
coronation of the emperor Nicholas ; in the latter 
Russian popular melodies are used. 

Already from this enumeration of Schubert's 
piano-forte works, which makes as little claim to 
completeness as that of his songs, or that of his other 
instrumental works, his activity and fruitfulness in 
this department may lie inferred. A fullness of beau- 
tiful melodies, surprising transitions, and single fine 
traits come cnntinually to light also in these four- 
hand pieces ; althongli it cannot be denied, tliat some 
of them, as for example " The Storms of Life," the 
Sonatas op. 30 and 140, by the too broad spinning 
out of the thoughts, become monotonous and make 
the hearer long for the end. In the latter Duo 
(dedicated by the publishers to Clara Wieck) Robert 
Schumann recognized rather an orchestral than a 
piano work (as Liszt did afterwards in the Fantasia 
inC.) 

" The Duo," Schumann writes, ' appears to me to 
have originated under Beethoven's influence ; and I 
took it for a Symphony, transferred to the piano, 
until the original manuscript, in which it is designa- 
ted by his own hand as a four-hand Sonata, tried to 
convince me otherwise. Tried, I say, for still I can- 
not get rid of my thought, that one, who writes as 
much as Schubert, uses little ceremony about titles ; 
and so perhaps in baste he superscribed his work 
Sonata, while it stood finished in his head as a Sym- 
phony. Familiar with his style, with his way of 
treating the piano, comparing this work with his other 
Sonatas, in which the purest piano-forte character is 
expressed, I can only explain it to myself as an or- 
chestral piece. You hear stringed and wind instru- 
ments, tiitti passages, single soli, roll of kettle drums ; 
the great broad symphonic form, even the allusions 
to the Beethoven Symphonies, likewise support my 
view. At the same time I would defend the Duo 
against the charge, that it is not always rightly con- 
ceived for a piano-forte piece, while as an arranged 
Symphony it would have to be regarded with other 
eyes. If we take it so, we are one Symphony the 
richer." 

Schumann does not stand alone in his opinion. 
Other competent musicians say, that this Sonata was 
undoubtedly designed to become an orchestral piece. 
So too in regard to the first two Impromptus, op. 142, 
Schumann is of the opinion, that Schubert did not 

* Allusions to Hungarian melodies occur also in the *' Mo- 
ments Mifsicats,^^ in some movements of his Sonatas, and in 
the Sympliony in C. 

t Franz Liszt haa arranged some of the marches for orches- 
tra. 



superscribe them so, and that the first is doubtless the 
fii'st movement of a Sonata, of which the other is the 
second movement ; while the concluding movements 
either were not composed or have got lost ; the 
f lurth Impromptu, although not decidedly belonging 
to it, might then be added as Finale. 
(To be continued.) 



Ferdinand Killer's New Opera. 

[From the Niederrheinische Musik-Zeitung. Trans- 
lated for the London Musical World.] 

On Saturday, February 1.5th, the new four- 
act opera, entitled Die Katahnnhen, the words 
by Rerr M. Hartmann, and the music by Ferdi- 
nand Hiller, was produced for the first time at 
the Ducal theatre, Wiesbaden. It is really quite 
an event for the mananement of a German 
Court theatre to decide on producinji the un- 
known wo 'k of a German composer, and to do 
everything in its power to render the perfor- 
mance and the mise-en scene worthy of the work. 
N)t only the composer, but German music itself, 
owes a deep debt of gratitude to the Baron von 
Bose, Intendant of the Wiesbaden theatre, for 
having; opened apa'h for a German opera, which, 
doubtless, will continue to enjoy the same suc- 
cess which has hitherto distingtuished it. 

This work requires, it is true, an audience still 
capable, in every respect, of a serious frame of 
mind, that is, with respect to the purport of the 
drama, and especially the music, and whose ap- 
preciation of sterling beauty has not yet been 
deadened by modern Italian eflect-music, and 
French spectacle opera. The subject of the 
story is a serious, not to say religious, one, since 
it aims at exhibiting the martyrdom of the first 
Christian community, and the contrast between 
the new and inward world rising in the minds of 
men, and the empty nothingne'ss of the Roman 
world sunk in sensuality. Although the poet 
may have sketched too sharply the two principal 
representatives of this contrast, namely, the 
Roman lady Lavirii and th5 slave Lucius, the 
leader of the Christian band, the tone of the 
drama is, on the whole, well preserved, and not 
obscured or spoilt by aught that is out of place. 

Without criticizing the details, we will give 
enough of the story to characterize the music, 
and furnish the reader with an intelligible sum- 
mary of the whole. 

After a short instrumental introduction, the 
action commences with a Bacchanal in the apart- 
ments of Lavinia, a noble Roman lady, of the 
family of the Caesars. The music is wildly char- 
acteristic ; the female chorus forms a gentle mid- 
dle movement, which celebrates, with graceful 
melody, the Goddess of Love. The wild joy 
produces no impression on Lavinia. Claudius, 
the prefect of Rome (barytone), orders the Ion- 
ian singer, the slave Clythia, to sing a song ; the 
fair Ionian, who is secretly a Christian, sings how 
the Lord, " who walked as God upon the earth, 
forgave the sinning woman who had deeply lov- 
ed." This song, charmingly composed as a bal- 
lad, and received with great applause, causes 
Lavinia to start; but Claudius recognizes in it the 
"Slave-god of the Nazarenes" and inveighs against 
the "Devoted race which threatens the Gods of 
Rome." The whole forms, with the chorus, an 
introduction full of life and character. The 
guests disperse. The following duet of Lavinia, 
who, in the "Desert of the Heart," laments a 
a suffering " which even Gods cannot alleviate," 
and of Claudius, who in vain endeavors to gain 
her love, is especially distinguished by the beauti- 
ful melodic flow in the part of Claudius, and was 
received with lively marks of approbation. 

Tumultuous sounds are heard approaching 
from without ; Timotheus, a Christian, is being 
pursued by the mob, who follow him into the 
halls of Lavinia. He falls at her feet. In order 
to clear himself from his crime, he is ordered by 
the Prefect to light the sacrificial flame before 
the statue of Venus. The slave Lucius brings the 
torch, and admonishes him, in a low voice, " not 
to deny the Lord." Timotheus, strengthened by 
Lucius's looks, refuses compliance ; the people 
want to drag him off' to death,despite the endeav- 



ors of the Senator Cornelius (bass), who is him- 
self at heart a Christian, to prevent them from 
so doing ; but Lavinia protects the fugitive, and 
haughtily opposes the wishes of the rude crowd. 

We have now a fine musical situation, skilful- 
ly introduced by the author, and admirably 
worked out by the composer in a sestet (two so- 
pranos, two tenors, baritone and bass) ; a vocal 
piece with full orchestra, and the chorus gradu- 
ally introduced, such as we should in vain seek 
in the operatic works of the last ten years, as far 
as regards the beautiful melodic fancy, the deep 
and yet clear way in which the harmonic flow is 
worked out, and the grandeur of the form and 
general effect. The impression produced was so 
great that the house burst forth in two rounds of 
applause. The only thing which could improve 
it would be to make the part of Corneliu.s, which, 
in extent, is somewhat unimportant, superior to 
the first bass ; but this alteration would be attend- 
ed with some difficulty, considering the common 
notions of singers about th« rank of the respec- 
tive parts and their own in particular. 

Af^ter Timotheus has been led off, through 
Lavinia's interposition, the first act is brought to 
a close by an energetic chorus of the Romans: 
'■^ Erioacld, ihr Gotlei; zum Tag der Bach '' 
("Awake, ye Gods, for the day of vengeance!") 
through which the solo voices are distinctly heard; 
so that the whole scene, from the entrance of 
Timotheus, pursued by the mob, forms a grand 
and magnificent fina.Ie, which can never fail to 
produce the same powerful effect which it pro- 
duced on the first night. The audience, in a 
state of great excitement, would not cease ap- 
plauding and calling for Hiller and the artists, 
until the latter appeared, and received the thanks 
they had so well merited ; for the first act was 
quite sufficient to convince every one, capable of 
appreciating such performances, that the opera 
had been most carefully rehearsed under the di- 
rection of Herr Hagen, equally well placed upon 
the stage by Herr Jaskewitz, and studied hi' 
every one concerned with real love for the task 
— a fact which became more and more apparent 
throughout the whole representation down to the 
very last note. 

The first act is well arranged by its author, and 
conducts us immediately into the midst of the 
conflict, which is to be unrolled before our eyes. 
With regard, however, to the personages of the 
drama, it leads us into error, since by the course 
pursued, Lucius, who is really the exponent of 
the principal idea, in no way attracts our atten- 
tion, while Timotheus is placed in the foreground, 
and monopolizes all our interest. But he does 
not reappear. He dies of his wounds, as we are 
informed, at the commencement of the second 
act. 

In the second act we behold the interior of the 
Catacombs, those subterranean stone quarries and 
excavations around Rome, in which the first 
bands of Romish Christians held their religious 
meetings, and which were subsequentU' employ- 
ed as burial grounds. Lucius now appears as the 
leader of the pious sufferers, as the enthusiastic 
priest of the new religion. The recitative and 
air: " Wie lange nnch, o Herr, wiUst du auf 
Erden in Elend schmachten lassen deiiie Herders ?" 
("How much longer. O, Lord, wilt thou allow 
thy flocks to languish in misery here on earth ?") 
are very fine ; their simple style may be com- 
pared to that of Mehul in Joseph. The song 
was greeted with loud applause. The following 
duet between Clythia and Lucius is one of the 
best pieces in the second act, it is really a pity 
that its conclusion, or rather, its non-conclusion, 
hinders the outburst of applause in which the 
audience feel inclined to indulge. It merges 
into a soft prelude, in which Clythia takes her 
lyre, and endeavors, by playing, to alleviate the 
sorrow she feels because Lucius rejects her loving 
heart. But the strict Presbyter, who already 
anticipates in his own person the subsequent 
oaths of chastity, poverty, and the renunciation 
of all worldly joys, orders her to part at once 
with her " sounding companion." The poet must 
answer for this, but, speaking in a musical sense, 
the scene furnishes an opportunity for a wonder- 
fully beautiful and very touching song on the 



36 



DWIGHT'S JOURNAL OF MUSIC. 



part of the poor girl, when she lays her lyre on 
a grave, never to touch it more. Repeated 
rounds of applause and a call rewarded the efforts 
of the fair artist (Mad. Deetz) and of the com- 
poser. 

The stage is empty. — Lavinia appears. — She 
has spied out the meeting-place of the Nazarenes, 
and has made her way to it. Suddenly there 
echoes behind the scenes the chorus of Christians 
singing the praises of Him who arose from the 
dead. This simple strain in unison, resolving it- 
self at the conclusion only into a harmonic chord 
on the words : " He has risen again !" when con- 
sidered in connection with the situation in which 
the woman, satiated with a sensual and luxurious 
life, stands alone as though annihilated before an 
an unknown power in the sepulchral and subter- 
ranean vaults, produces a remarkable effect, 
which, despite its awing influence, compelled the 
audience, after a breathless pause, to break out 
in a storm of applause. The soul of Lavinia is 
greatly moved ; she feels a presentiment of a new 
God, who perhaps, may be able to arouse her 
"withered heart from the cold bonds of weariness 
to new life." 

She steps behind a piece of rock, for a proces- 
sion of Christians is advancing : they are bury- 
ing the body of Timotheus. A funeral proces- 
sion is always a dangerous thing on the stage. 
We ourselves would have made it pass over quite 
in the background, by which arrangement the 
chorus of Christians and the song of Lucius, on 
account of the religious feeling which they 
breathe, would produce a greater effect. Not 
until the bier had been removed, woidd Lucius 
then advance and call upon the pious band to 
prepare the sacred meal. Lavinia now suddenly 
advances, fearlessly and proudly ; Lucius protects 
her against the rage of his companions, who are 
apprehensive of treachery. She {acknowledges 
freely that she is seeking the now God. in whose 
power she hopes to find other passions and a re- 
lief from her disgust for life. The Christians 
exclaim indignantly against her blasphemy, and 
wish to prevent her escaping ; but Lucius re- 
minds them of the commandments of the Lord, 
the commandment to love their fellow creatures. 
He shows himself in all his worth, which enchains 
and entrances the sinner, Lavinia. He breaks 
out into a fiery prayer to the Lord to enlighten 
the proud woman. This prayer, thanks to the 
co-operation of the chorus, becomes a magnifi- 
cent hymn, which concludes this act, as the for- 
mer one was concluded, in a grandiose style. 

This finale — which, beginning with the funer- 
al procession, and being of a very diflerent char- 
acter to that which forms the finale of the first 
act, offers far greater difficulties to the composer 
— excited still more enthusiasm. Lavinia (Mile. 
Lehmann) and Lucius (Herr Schneider) were 
called on, while Hiller himself, unable a second 
time to avoid satisfying the stormy wish of the 
public, also appeared in the midst of long sus- 
tained applause, upon the stage. 

The third act commences with a pleasing 
chorus of Lavinia's female attendants, who are 
adorning their mistress for the reception of the 
■victorious Cfesar, about to make his triumphal 
entry into Rome. What follows is somewhat 
long, and has not sufficient action. The princi- 
pal scene — the grand duet between Lavinia and 
Lucius ,in a musical sense one of the most bril- 
liant hits in the opera, with splendidly beautiful 
points, especially in the part of Lucius (except 
that, at the conclusion, the instrumentation 
overpowers the vocal portion, which is never or 
seldom the case elsewhere in the score) — this 
scene, we think, does not achieve its dramatic 
object, since the rejection of Lavinia by Lucius 
does not elevate him, while Lavinia, by her hu- 
miliation before the man whom she so earnestly 
beseeches to love her, fritters away rather than 
excites our sympathy. 

The scene now changes to a large open square. 
Senators and Roman warriors form a procession, 
under the guidance of the Prefect, Claudius, with 
standards and eagles, to the strains of a pompous 
march, the spirited character of which is enhanc- 
ed by the chorus. Lavinia appears. With rage 
and indignation against Lucius in her heart, she 



calls upon Claudius to suppress the Christians, 
and discloses to him the entrance to the cata- 
combs. Claudius hastens to the Emperor, for the 
purpose of obtaining from hira the order for the 
destruction of the Nazarenes. An heroic air of 
the latter, and a chorus of warriors in praise of 
the approaching victor terminate this act, also, in 
a magnificent manner. It brought down thun- 
ders of applause, the grand duet, also, being 
loudly applauded. 

In the last act, the stage represents the ruins 
of a temple of Vesta, at the side of which is the 
entrance to the Catacombs. 

Lucius appears. He has received information 
of Lavinia's treachery. lie summons the breth- 
ren out of the Catacombs, in order to save them, 
and deliver himself up alone to death for the 
sake of his faith. The Christians depart from 
him and their place of refuge. We think the 
whole scene is superfluous, since the Christians 
return, and thus only make up their mind to 
sacrifice themselves as they come aloncf, which 
does not produce a good impression. Musically 
speaking, too, it is not important, and, perhaps, 
hardly ought to be so. The more striking is the 
following grand scene for the tenor, a magnifi- 
cent recitative, an andante with violoncello solo : 
"Mein Durst wird bald gestilt — iims ich erfeht, es 
naht mh Himmehglnnz " (" My thirst will shortly 
be assuaged — what I have prayed for approaches 
with heavenly glory") ; and, lastly, a fiery alle- 
gro : "Herbei, ilir Henkemchaare .'" (" Come on, 
ye hordes of Headsmen ! ') with an unusually 
beautiful melodic turn on the words: "Mein 
GeiM ixt Held von IT'wrmelsstralden, In Flammen 
steht mein Herz" ( 'My soul is light with heavenly 
rays, my heart is in flame,") the composer goes 
back to the tempo of the beginning, rising at last 
to a high pitch of enthusiasm, with a more lively 
rhythm on the words : "Befrei, mich, o Ilerr, aus 
meiner Haft, Ver.fcJimaJi' mein Offer nichl." 
("Free me, O Lord, from my captivity, and do 
not despise my sacrifice"). The whole scene is 
truly magnificent. It was excellently rendered 
by Herr Schneider, and greeted with long-sus- 
tained applause. 

Claudius appears, and despatches his military 
followers to drag out of the subterranean retreat 
the Christians, who are destined to be ofTered up 
on the arena to the wild beasts. The soldiers re- 
turn ; the catacombs are empty. Claudius is 
furious ; Lucius comes forward to him and ex- 
claims : "Die Beiite. die du sueh.it, steht hier !" 
("The prey you seek stands before you !") At 
the same time, Clythia, who has concealed her- 
self in the ruins, oflFers herself as a victim. At 
this moment, Lavinia, lashed by the Furies, 
rushes in. In vain she begs Lucius from the 
Prefect, who is the more immovable, because she 
confides to him her love for the slave. A quartet 
(Lavinia, Clythia, Lucius, and Claudius) expres- 
ses the e.xciting nature of the situation, and was 
received with applause. 

The Christians, who have previously lefl, now 
rush in, in order to die with their shepherd and 
master. The Senator, Cornelius, follows, and 
acknowledges his belief in the only true God ; 
while even Lavinia herself exclaims : " Mich 
ouch juh.rt in den Tod, Ich auch bin von Ihrer 
Schaor !" (" Lead me, also, to death, for I, too, 
am one of your band !") But the Christians re- 
ject and avoid her. She stands deserted and 
alone. Claudius approaches her. " Sei mein !" 
he says. But she proudly rejects him, and kills 
herself. Claudius rises scornfully before the 
dying woman, and hurls forth the order for the 
destruction of the Christians ; the latter, how- 
ever, gathered round their leader, sink upon their 
knees, and sing with him the following hymn of 
Victory ! 

" Uns ist der Sieg, 

Die ihr bekrieget : 

Mit uns ist Gott, 

Und ihr erlieget ! 

Hallelujah !" 

" To us, on whom you war, is the victory ; God 
is with us, and you are vanished ! Hallelujah \" 
In this hymn, the composer once more cpncen- 
trates the whole force of his genius and the trea- 
sures of his musical resources, in order to place 



most conspicuously before the andience the moral 
importance of the entire drama, and the spirit in 
which he has striven to idealize it by the power 
of tone. He has been successful. The impres- 
sion produced was of an elevating nature, and 
Ilillcr was again compelled to appear in obedi- 
ence to the uproariously expressed wish of the 
public. Their Highnesses the Duke and Duchess 
were present, and gave unmistakeable signs of 
their satisfaction from beginning to end. The 
performance, as we have already mentioned, was 
altogether admirable. The chorus and orchestra 
vied with the representatives of the principal 
parts ill their devotion to their task, and, if we 
take into consideration the state of things at a 
small theatre, it must be owned that the result 
was something extraordinary. We cannot close 
this notice without expressing in the name of 
German musical art, our warmest thanks to the 
conducter, Herr Hagen, for his successful exer- 
tions to render the first performance of a great 
and diflicult work, by a German brother in art, 
most effective. We trust the great Royal oper- 
atic establishments in Germany will also devote, 
with zeal and love, to this most important work 
of a German author ami of a German composer 
resources they so frequently lavish on French 
and Italian operas. 



Beethoven at Gneixendorf. 

Under the title of Beethnven at Gneirendorf, a cer- 
tain Dr. L. relates, in No. 10 of tlie iJeutsche iJusik- 
Zeilmg, some reminiscences of one or two trust- 
worthy contemporaries of Beethoven, in and ahout 
Gneixendorf, the cstnte belonging to tlie composer's 
unworthy brother, Johann (Schindlcr's Biugraphie, 
vol. ii. p. 131). Those derived riva wee from Mi- 
chael Krenn, who waited on Beetlioven, and is still 
alive, are bv far t!ie most interesting. Beethoven, it 
appears, was only once in Gneixendorf, namely, in 
the year 1S26, during about tliree months, from reap- 
ing time till after the vintnge (that is to say, in tfie 
mondis of August, September and October). Michael 
Krenn was engaged by the mistress of the house to 
attend upon the great musician. At first, however, 
the cook had to make the hitter's bed. On one occa- 
sion Beethoven, seated at his table, was waving his 
hands about, marking tiine with his feet, and singing 
or humming. The cook laughed at this. Beethoven 
siuldenly turning ronnd, perceived her thus laughing, 
andgiminediately drove her out of the roon. Michael 
wished to run away with her, but Beethoven, palling 
him hack, gave him three zwanzigers, and told him 
he had nothing to fear, hut that he must now make 
his (Beethoven's) bed everyday, and put the room to 
rights. Michael had to go "to the room tolerably 
early, but was gcnei-idly oblic;ed to knock for a long 
time at the door before Beethoven opened it. Beet- 
hoven was in the habit of rising at half past five 
o'clock, sitting down at his table, marking time with 
his feet and hands, and writing, as he sang or 
hummed. At first, Michael, whenever he felt inclined 
to laugh at this, used to steal out of the door, but he 
gradually got accustomed to it. At half-past seven 
the general breakfast was served ; after this Beet- 
hoven always hastened out into the open air, and 
wandered in the fields, hallooing, tinging his hands 
about, walking at one time very slowly, and at 
another very quickly, or suddenly standing stilt to 
write in a kind of pocket-book. On one occasion, 
when he had returned home, he discovered he had 
lost it. " Michiicl," he said, " run and look for my 
writings : I must recover them at any price." They 
were found. At half-past twelve, he used to return 
home to dinner ; after dinner, he used to go into his 
room and remain till about three o'clock, when he 
would again roam about the fields up to sunset, for 
later than that he never went out. At half-past seven, 
supper was served. He then returned to his room, 
and, after writing till ten o'clock, retired to bed. He 
woidd sometimes play the piano ; the latter, however 
did not stand in his bedroom, but in the sitting-room. 
The sitting and bedroom, which no one except Mi- 
chael was allowed to enter, were situated at the end 
which looks towards the garden and courtyard, where 
the billiard-table now stands. While Beethoven 
was out walking in the morning, Michael had to set 
the room to rights. While so doing, he would fre- 
quently find money upon the floor. When he gave 
it back to Beethoven, the latter would enquire where 
he had found it. Michael had to show him the spot 
from which he had picked it up, when Beethoven 
would make him a present of it. This happened 
two or three times, after which Michael found no 
more money. In the evening he always had to sit 



BOSTON, SATURDAY, MAY 3, 18 6 2. 



37 



next to Beethoven, and write down the answers to 
the questions the latter put to him. As a rule he 
used to he interrogated as to what had been said about 
him (Beethoven) at dinner and supper. 

One day his mistress sent Michael with five florins 
to purchase some wine and a fish at Stein. Michael 
was careless. He lost the money, and retuved about 
twelve o'clock in a state of great agitation to Gneix- 
endorf. His mistress immediately asked where the 
fish was, and, when he told her about his losing the 
money, drove him from the place. On coming to 
diuner, Beethoven at once inquired for his Michael, 
and the lady related what had occurred. Thereupon 
Beethoven was fearfully incensed ; he gave tlie lady 
her five florins back, and insisted that Michael should 
instantly return. Thenceforth he no longer took his 
place at the table, but had his meals brought up into 
his own room, where Michael hadjalso to prepare his 
breakfast. According to Michael's account, even 
before this scene, Beethoven hardly ever spoke to his 
sister-in-law, and but very little to his brother. Mi- 
chael stated, also, that Beethoven wanted to take 
him to Vienna, but that the project was abandomed, 
on the arrival of a cook, who came to bring away 
the composer. 



wsxt Jhoab. 



London. 

The othek Opera. — We gave last week the 
prospectus of the Royal Italian Opera at Covent 
Garden, which last year had the whole field to itself. 
This time its old rival. Her Majesty's Theatre, comes 
forward with its prospectus, on which the JiJusical 
Woild remarks : 

Mr. J. H. Mapleson, the new director, evinced so 
large an amount of energy in his brief .'ieason of 
Italian Opera at the Lyceum Theatre last year, as to 
give us every reason to expect a company perfected, 
if possible, in every branch. At present the sopranos 
are by far the strongest, and show, in fact, o power- 
ful array of talent. They are as follows : — Miles. 
Titiens, Carlotta Marchisio, Louise Michal, Drusilla 
I'iorio, Dario, Clara Kellogg and Mad. Guerrahella. 
Of Mile. Titiens it is unnecessary to say a word ; her 
fame is world-wide, and she is the accepted successor 
of Mad. Grisi in the grand tragic line. Mile. Car- 
lotta Marchisio has spoken for herself in the concert- 
room. She appeared this year in England for the 
first time. The sensation created by herself and her 
sister in singing Rossini's duets cannot be soon 
effaced. Their worth, however, as dramatic singers 
has yet to be established with us. It must not be 
forgotten that Rossini's Semiramide was brouglit out 
expressly at the Grand Opera of Paris for the 
" Sisters," and was performed for many nights, 
according to the press, with immense success. We 
English critics, nevertheless, are somewhat chary of 
endorsing the opinions of continental scribes, for rea- 
sons not necessary to be stated in this place. They 
are announced to make their first appearance on 
Thursday, May 1st, in Semiramide, Mile. Carlotta as 
Semiramis, and Mile. Barbara as Arsace ; but who 
is the Assur the prospectus saith not. What a pity 
when Tamburini quitted the stage he should have 
carried off so many impersonations with him into his 
retirement ! Shall we never have a successor to that 
great and versatile artist? After Mile. Carlotta 
Marchisio comes Mile. Dario, of whom we know so 
little that we shall say next to nothing. Mile. Dario 
(orDoria?) is to appear in the part of Oscar in 
Verdi's Ballo in Maschera ; which, by the way, was 
produced for the first time in this country by Mr. 
Mapleson, at the Lyceum, last year. Mile. Louise 
Michal — a countrywoman of Jenny Lind, and strong- 
ly recommended by her to Mr. E. T. Smith— made 
a highly favorable impression in 1860, at Her Majes- 
ty's Theatre, as Marguerite in the /?«(/ueno(s, exhibit- 
ing a voice of great brilliancy and power, and 
considerable art as a vocalist. As Mad. Lind- Gold- 
schmidt, it is rumored, has pronounced Mile. Louisa 
Michal her legitimate successor, we may anticipate 
even greater things from her than her performance 
of the Queen of NBvarre in Meyerbeer's opera. 
Mad. Guerrahella created so favorable an impression 
as Maid Marian in Mr. Macfarren's Rohin Hood at 
the Royal English Opera, last winter, that she is sure 
to become a favorite in Italian Opera, to which it 
would appear her education has been more immedi- 
ately directed. She will come out as Elvira in the 
Purilani, with, no doubt, Sig. Giuglini as Arluro, 
perhaps Sig. Giraldoni as Riccardo : but who is 
intended for Giorgio we cannot even surmise. What 
a pity when Lablache quitted the stage he should 
have carried off so many impersonations with him 
into his retirement I Mile. Drusilla Florio is an 



utter stranger, to whose talents, in our ignorance, we 
take off our hat. Mile. Kellogg, the last name in 
the list, would be as entire a stranger, but that we 
have learned something of her antecedents from the 
Mew York correspondent of Dwight's Boston Joimud 
of Music, in which we are informed that the young 
lady made a hiixhly interesting debut at New York, 
in 1861, as Linda in Linda di Chamouni. Mile. 
Kellogg will make her first appear.ance early in May 
in Linda di Chamouni, with Mile Trebelli as Pierotto, 
Sig. Giuglini, Carlo, Sig. Giraldoni, Antonio, and 
the Marquis, Sig. Zucchini. 

There are throe contraltos. Mile. Barbara Mar- 
chisio, Mad. Lcmaire, and Mile. Trebelli. The first 
has been already alluded to, and her representation.s, 
no doubt, will be restricted to operas in which she 
and her sisters will appear. Mad. Lemaire is an 
extremely useful artist. Mile. Trebelli comes to 
England with a high reputation. She made her first 
appearance in Madrid as Rosina in the Darhiere. in 
ihe winter of 1859, with Sig, Mario. From Madrid 
she went back to Paris, where she resumed her 
studies, and was engaged by Sig. Merelli for his 
Berlin troupe, in July, 1860. ' 

The tenors compri.se Sigs. Armandi, Capello, Soldi 
and Giufrlini. The last alone is noteworthy. Sig. 
Armandi may, or may not, be remembered as singing 
at the Royal Italian Opera some seasons since. Of 
Sig. Cappcllo we know nothing, and of Sig. Soldi a 
great deal, as do also ihe subscribers to both operas 
If the list of tenors be not reinforced, poor Signor 
Giuglini will have his hands full. 

The barytones are Sigs. Giraldoni and Casnboni, 
and M. Gassier; the basses, Sigs. La Tcrza. Bossi, 
Castelli and Zucchini. Sig. Giraldoni would seem 
to be an artist of mark, seeing that Verdi wrote the 
part of Renafo in the Ballo in ,.l/nsc/(«-o expressly for 
him. M. Gassier is an artist in the truest sense of 
the word, an honest, straightforward singer, capable 
of undertaking the highest parts without discredit. 
The first bass, Sig. 'La Tcrza, is unknown to us; 
Sig. Zucchini lias enjoyed for some years in Paris no 
inconsiderable reputation as a bnffo singer. 

The orchesira, the prospectus tells us, "with the 
most especial care to secure thorough efficiency in 
every department, has been selected from the magnifi- 
cent hand of the Philharmonic Society." Signor 
Arditi is to be the conductor. The choral force "has 
been selected with great care and discrimination, 
with numerous additions from the Italian operas of 
Paris, Berlin and Barcelona, and the direction confi- 
ded to Signor Chiaramonte, chorus master of the 
The'fitre Italien, Paris." From the ballet alone — 
once the chief spell of attraction at Her Majesty's 
Theatre — has the glory departed. However, grand 
operas necessitate Dirertissements, and so we have 
Miles. Lamoureaux, Morlacchi, and Bioletta for the 
leading danseuses, and Signor Garbagnati, from the 
Scala, Milan, as principal danseur. 

The repertory for the season is highly attractive. 
In addition to the operas already named, we are 
promised Oberon — brought out with so much splendor 
and completeness by Mr. E. T. Smith in I860; 
Meyerbeer's Robert le Diable, got up expressly for 
Mile. Titiens. Mozart's Noz^e di Figaro, with Mile. 
Titiens, as the Countess, Mile. Trebelli, the Page, 
and Mile. Kellogg, Susanna; and, "should time 
permit," Der Freischiitz. 

Monday Popular Concerts. — The eighty-first 
concert (March 31) was for the benefit and last ap- 
pearance this season of Miss Arabella Goddard. Of 
this event the Morning Post writes as follows : — 

" The concert on Monday last, given for the bene- 
fit of Miss Arabella Goddard, attracted an immense 
audience. The great English pianist, who has con- 
tributed so larsrely to the reputation which the Mon- 
day Popular Concerts now enjoy, as the very best 
entertainment of their kind in existence, was most 
enthusiastically cheered on entering the orchestra. 
She performed on this occasion Beethoven's solo son- 
ata, No. Ill ; Sebastian Bach's 'Tarantella; and, 
with Herr Joachim, Beethoven's ' Kreutzer ' sonata ; 
and in all was triumphantly successful. In other re- 
spects, too, the fame of the Monday Popular Concerts 
was fully sustained. Herr Joachim played his very 
best throughout, and was most ably supported by 
Messrs. Piatti, H. Webb, and L. Ries. The vocalists 
were Miss Clara Eraser and Mr. Tennant ; the ac- 
companist, as usual, Mr. Beriedict." 

Philharmonic Concerts. — The third concert 
was equal in excellence to either of its predecessors, 
and was attended by such an audience as made the 
old Hanover Square Rooms (now so pleasantly re- 
decorated) look as gay and brilliant as at any period 
of their long and musically interesting career. The 
symphonies were by Haydn and Beethoven. It was 
delightful to hear the ever fresh and melodious work 



of Haydn (known to amateurs as " Letter T ") — the 
first of three grand symphonies in the key of IE flat, 
the best of which seems always the one to which we 
are immediately listening — and more especially to 
hear it played con amore, so thoroughly in the spirit 
of the composer, as was the case on Monday night, 
when the fine orchestra, over which Professor Stern- 
dale Bennett presides with such ability, exhibited a 
vigor, precision, and unanimity that reflected honor 
alike on themselves and their conductor. The Beet- 
hoven symphony was the colossal " No. 7 " (in A 
major), a work which its second movement — that 
mysterious "reverie" in the minor mode, with such 
seeming inconsistency marked "allegretto" — would 
alone have ;mmortalized, if happily each of its other 
parts had not been equally a chefd'onwre. The over- 
tures were Mendelssohn's passionate Rriy Bias, and 
Auber's stirring and splendid Masaniello (both given 
to perfection). The "lion " of the evening was Herr 
Joachim, who played twice, and in each instance cre- 
ated a sensation almost without parallel. The first 
performance of this " Emperor of Fiddlers" was Herr 
Molique's admirable concerto in D minor, a work 
that will, in all probability, survive as long as the in- 
strument for which it was composed. Every move- 
ment of this concerto — as nil amateurs of the violin 
are aware — is masterly ; hut the last — a rondo full of 
capricious traits, piquant, fanciful, and (despite the 
affinity of ils rhythm to that of the first allegro in 
Beethoven's 7th Symphony) entirely original — is not 
merely faultless in construction and development, 
but a genuine inspiration. Still more "marvellous" 
a feat was the solo in the .second part — an andante 
from one of the sonatas of , John Sebastian Bach, suc- 
ceeded by the renowned Fugue in C major, one of 
those seeming impraetieahilities which, though Bach 
produced ttiem for his own amusement, neither he 
nor any of his contemporaries could pos.?ihly have 
executed. Here there is no orchestral accompani- 
ment to sustain the player Melody, harmony, ac- 
companiment and all, must be supplied by his unaid- 
ed fingers ; and this, too, in a fugue, and the fugue, 
moreover, on a fiddle I Herr Joachim's realization 
of tills dream of the venerable and venerated Canter 
of St. Thomas's School at Leipsic, in a word, as far 
surpassed any of the boasted achievements of Paga- 
nini (who scarcely ever played other music than his 
own) as the achievements of Paganini can have sur- 
passed those of his predecessors — including Tartini, 
who wrote " The Devil's own Sonata." It fairly elec- 
trified his hearers. 

Miss Louisa Pyne and Mr. Santley were the sing- 
ers. 

New Philharmonic Concerts. — On Monday 
night Dr. Wylde commenced the 11th season of the 
New Philharmonic Concerts with one of the best pro- 
grammes he has ever given, and before one of the 
largest audiences ever assembled in St. James's Hall. 
His band, upwards of eighty strong, is now an instru- 
mental force not easy to match in this or any other 
country. Nearly all the chief performers are from 
the Royal Italian Opera, and with these are associated 
others (Herr Molique and Mr. H. Blagrove — "prin- 
cipal violins " — for example) whose co-operation 
would be invaluable to any orchestra. Dr. Wylde 
yearly gains experience as a conductor, and with ex- 
perience that self-reliance which enables the wielder 
of the " baton " to inspire his followers with confi- 
dence, and thus insure a vigorous and efflcicnt exe- 
cution. The grand orchestral pieces selected for his 
opening concert night, were Mendelssohn's synipho- 
nv in A minor, played at the end of the first part, 
Beethoven's overture to Goethe's Egmont, with which 
the concert began, and Weber's to Oberon, with which 
it was brought to a close. 

To Miss Arabella Goddard — who a week since 
bade a temporary " farewell " to the patrons of the 
Monday Popular Concerts, and now made her last 
appearance in London for the present season — were 
allotted a concerto and njantasia, each in its way in- 
comparable, the first by Mozart, the last by Beet- 
hoven, both with orchestral accompaniments. 

Tha "solo" vocal music was unusually attractive, 
the singer being Mile. Titiens, who, in three of her 
pet pieces — Alice's romance in the first part of 
Rober le Diable ; " Bel raggio" {Scniiramid<;] ; and 
"Com 4 hello" {Lucrezia Borvm)— delighted the au- 
dience beyond measure. Altogether, the entertain- 
ment was calculated to enhance the already high re- 
putation of Dr. Wylde's concerts. At the next 
(May 7tli) Herr Joachim is to play, the sisters 
Marchisio to sing, and Mr. J. F. Barnctt Dr. Wylde's 
most brilliant pupil) to conlribute a piano-forte con- 
ccrlo. 

Sacred Harmonic Society. — The magnificent 
performance of Solomon at the last concert of this 
society was not only directly intere.fting on its own 
account, but indirectly with relation to the appro.ach- 
ing Handel Festival, at which — on the second day. 



38 



DWTGHT'S JOURNAL OF MUSIC 



when there is to he (as on the last occnsion) a mis- 
celh\neoiis ]iiTi;;mmme — some of the choruses are to 
be introduced. The nuniliers cliosen fortliis purpose 
are amoni; the most splendid and picttiresqiie in a 
work which abounds in masterpieces of clioral writ- 
inff^viz., "From the Censer" ( Part II.), " Music, 
spread thv voice around," "Shal;e tlie dome," "Draw 
the tear from hopeless love," and " Thus rollingr 
surges rise" (Part IIL) We are disposed to sugirest 
the addition of " Praise the Lord " (Part III.), and 
"May no rash intruder" (Part I. — the so-called 
" Niehtinfiale " chorus) — the former one of the 
jrraudest, the latter one of the most melo<lious and 
beautiful in Solomon, which. h_v rendering still more 
complete, would render still more attractive the al- 
ready rich selection. These, as well as the others we 
have named, were given to perfection on Friday ni^ht, 
and thorouirhlv enchanted the audience (one of tlie 
most crowded we remember). A repetition of "May 
no rash intruder" was insisted on, and A[r. Costa, 
findinjx the opinion so unanimous, without hesitation 
com|)lipd. Ill this vast arena of the Crystal Palace 
— unless the new arrane:ements in the orchestra sur 
pass all expectation — the pianissimo, so ably sustain- 
ed in this last mentioned chorus at Exeter Hall, will 
have to be very considerably modified. The solo 
sintfcrs were Misses Banks and Louisa Pyne, Mad. 
Sainton-Dolby. Messrs. Mnntem Smith and Lewis 
Thomas. The P.ission week performance of The 
Messiah is announced for Wednesday, the 16th. 

Germany. 

BEBLty. — The Bach-Yerein (which has recently 
passed from its former director, Geortre Vierlin^, 
into the hands of Herr W. Rust) has <riven a private 
concert, at which three of J. S. Bach's Cantatas were 
]ierformed, viz : 1. Sleih hei uns , chnn cs will Ahevd 
ivenlen ("Stay with us, for it will soon be eveninjz;);" 
2. The Easter C.antata : " Thou wilt not leave my 
soul in hell ;" 3. " Break thy bread to the hnnary." 
In the .soprano and alto solos two young sin^iers from 
the school of Gustave EnscI, member of the Dom- 
chor and critic, presented themselves with great sue" 
cess. 

Haydn's Oratorio " The T\eturn of Tobias " has 
been brought out by Stern's Society, but did no) 
m^ike a great impression ; as a whole it was found 
tedious. 

Among the yet unprinted works of Beethoven has 
been found an Operetta, in the original manuscript. 
The Landsberg Beethoven collection has been ob- 
tained for the Royal Library in Berlin. 

The programme for the third Festival of the Cen- 
tral Rhine shows, for the first day ; Handel's Judas 
Miircnbrpvs ; second day : Mozart's " Jnjnter " Sym- 
phony ; a motive from Bach ; two unaccompanied 
choruses by Palestrina and Vittoria ; Overture and 
chorus from Faniska, by Chorubini ; Hymn by Men- 
delssohn. 

Leipzig. — Riedel's Sing-Verein, always busy in 
such difficult good works, performed Bach's great 
Mass in B minor, on the 21st of March. — Beetho- 
ven's Ninth or Choral Symphony was given in the 
last (twentieth) concert of the season at the Gewand- 
haus. 

Halle. — This is not much of a musical capital ; 
but here lives one of the truest and most original 
musicians of the day, Robert Franz ; who, though 
he has limited himself chiefly to composing those 
wonderful songs of his, and to arranging anfl editing 
works of Sebastian Bach, is more and more looked 
up to as a man of mark in Germany. He has lately 
published two more sets of songs, the last being num- 
bered op. 37. Also he has arranged and published 
(in the same admirable manner with the Arias for 
Soprano, Alto, Tenor and Bass) the Arias from 
Bach's "Passion" music (according to St. Matthew); 
Duets from various Masses and Cantatas by Bach, 
and three entire Bach Cantatas, with choruses, airs, 
recitatives, symphonies and all, — all with pianoforte 
accompaniment. The University of Halle have re- 
cently conferred on Franz the degree of Doctor, 
partly in acknowledgment of his great services to the 
world in promoting a better knowledge and appreci- 
ation of I3ach. 



Vienna. — Bach's Passion music, Beethoven's 
great Mass in D. Haydn's " Creation, Schubert's 
opera " Fierahrns'' are some of the works brought 
out here about Easter time. — An orchestra of pupils 
gave a concert, in which Beethoven's 8th Symphany 
and Gluck's Jphigeiue overture were played to great 
acceptance. — Of the Court Opera (Kiirnthnerthor 
Theatre) the musical Zeitnnr; complains tliat the 
repertoire lately has been pitiable indeed — chiefly 
Italian and Meyerbeer. 

A number of the local artists have arranged a se- 
ries of G subscription concerts, of which the pro- 
grammes hold out a prospect of much that is novel, 
or at leastjnot hacknied. The pieces are thus classed. 

1. Chamhir Music. Mozart: Sextet for strings 
and two horns. — Beethoven : Andante with varia- 
tions and Finale from Sonata in A for piano and 
violin ; Quintet for oboe, 3 horns and fagotto (MS.). 
Schubert : Fant.asia in F minor, piano, four hands ; 
Andante and Var. for piano and flute. — Weber : 
Piano Quartet. — Spohr: Piano Trio in E minor. — 
Mendelssohn : B flat major Sonata, piano and 'cello. 
Schumann ; " Pictures from the East," for piano' 
four hands ; And mte and var. for two pianos — 
Reinicke : Impromptu on a theme from " Manfred." 
Dopplcr : Serenade for violin, flute, horn and pi.ano. 
Briill : Sonata for piano and violin (MS. work of a 
boy). 

2. Choruses ^-c. Cherubini : "Sleep darling child" 
(female voices). — Schubert; "The Gondolier"; 
" Hunting Song," arranged from the Ossian songs ; 
Widerspruch : "Night song in the woods" (male 
choruses). — Laehner : "Warrior's Prayer." — Men- 
delssohn: ''Farewell to the Forest ;" "The Voyage." 
Schumann: " Gipsey life." — Gade : "Gondola trip." 
Otto : Reitcrlied, — Rubinstein : " War Song," — 
Pichler Bod ig ■ Quintet for female voices. 

3. Songs by Schubert, Schumann, Beethoven, Carl 
Lowe, Tauhert, Meyerbee;', Brahms, and others iu 
great variety. — 4. Tnstj'wnenfal Solos and Virtuoso 
pieces. 

gtoigljfs lournal of Ulusk. 

BOSTON. MAY 3, 1869. 

Music in this Nujiber. — Continuation of Chopin's 
Mazurkas. 



Mendelssohn's '"Walpurgis Night." 
After a musical dearth of some weeks, we are 
to have the privilecte to-night (thanks to the en- 
terprise of Mr. B. J. Lang) of listening to an 
important work by a great master, which is new 
to us. It is indeed somewhat singular that so 
unique and famous a creation of the youth nam- 
ed Felix — a genial product of his happiest days, 
those days which he describes so charmingly in 
his letters from Home, which we have all been 
reading lately — should have remained so long 
unknown anil unattempted in a place of so much 
mu.sical aspiration and enterprise as Boston. But 
it comes in good time, and it is pleasant to know 
that there are such good things left; if contem- 
porary Art is barren, save in vague and ques- 
tionable Liszt- Wagner-Berlioz strivings rather 
than creations, it is a comfort that we have not 
yet by a long wa)' exhausted the sterling trea- 
sures of the days when there was genius and 
when there were giants. Mendelssohn's " Wal- 
purgis-Nacht " is not one of the greatest works 
which we thus far only know by hearsay ; it is 
not equal in importance to his own greatest works, 
with which we have become more or less familiar 
as his Symphonies, his "St. Paul" and "Elijah," 
&c.; but it is a thoroughly genial, original, de- 



lightful composition, full of charming, of start- 
ling and of grand effects ; a most successful musi- 
cal translation of Goethe's curious poem. 

The subject is easily stated. Walpurgis fig- 
ures in the German calender as the female Saint 
who converted the Saxons from their Druidical 
faith to Christianity. The deities of the heathen 
worship became the devils and witches of the 
Middle Age tradition ; and aa Venus was still 
fabled and believed to hold her court in the 
heart of a mountain in Thuringia. so the 
witches and evil spirits of the Northern mytholo- 
gy were supposed to hold their infernal " Sab- 
bath" on the night of the first of May,on the sum- 
mit of the Harz mountains. With what wild 
imaginative art Goethe has conjured all its 
elements together in the famous scene in ' 'Faust !" 
(Shelley's free '^ranslation admirably preserves 
the spirit of it). Goethe made a poem out of 
every thing that interested him ; it was his way 
of solving intellectual and moral problems, of 
reaping and laying up the fruits of his inquiries. 
So besides the scene in "Faust," he has embodied 
in a separate little poem, " The First Walpurgis 
Night," his idea of the manner in which the tra- 
dition of the "Witches' Sabbath " may have orig- 
inated. May Day Eve is dedicated to St. Wal- 
purgis, and naturally the mob of outcast evil 
spirits choose her night to make a great stir. The 
idea is, that the Druids fled to the mountains to 
pursue their ancient rites, unmolested by their 
Christian presecutors. To avoid detection, which 
would be death, they took advantage of the sup- 
erstition of their enemies, and set guards about 
all the approaches to the place, who dressed 
themselves up like demons, and ran through the 
woods with blazing torches and hideous noises, 
frightening the Christians away. 

The poem, as sung, is cleverly translated by 
Mr. Bartholomew of London, and preserves the 
spirit of the whole, although it is impossible to 
transfer to another language the suggestive 
sound of many of the verses. But that again is 
more than made good in the music of Mendels- 
sohn. The contents of the Cantata are in brief 
as follows : 

First an Overture, consisting of two move- 
ments: Allegro confuoco, representing stormy 
weather; followed hy Allegro vivace, in whose 
lifesome, delicate, fresh harmonies you feel the 
transition to Spring. This naturally preludes to 
the Spring song (tenor) and chorus with which 
the poem opens : 
Druid Solo, and Chorus of Druids and People. 

Now May again 

Breaks Winter's chain. 
The Bud and Bloom are springing ; 

No snow is seen. 

The vales are green, 
The woodland choirs are singing I 

Yon mountain height 

Is wint'ry white ; 
Upon it we wili gather, — 

Begin the ancient holy rite, — 
Praise our Almighty Father; 

In sacritice. 

The flame shall rise ; 
Thus blend our hearts together I 

Away, away ! 

A more exquisite, inspiring May Day chorus 
could not be imagined. Sting, as it will be, by 
150 fresh voices, it will be too good to lose. The 
concluding strain, exhorting to the praise of the 
All-Fallier, is dignified and solemn. — Then 
comes a warning voice from " an aged woman of 
the people" (contralto, Mrs. Kempton) — Goethe 
has it: "one of the people"— masculine — which 
instantly raises the dark and earnest background 
of the situation in strong contrast against those 



BOSTON, SATURDAY, MAY 3, 18 6 2. 



blithe voices ot the Spring : 

Know ye not, a deed po daring 
D' oinH us all to di<^ ilespairing ? 
Know ye not it is forbidden 

By tlie edicts of our foemen ? 
Know ye. spies and snares are hidden, 

For the sinners called ''the heathen" ? 
On their ramperts they will slaughter 
Mother, Father. Son, and Daughter ! 

If detected. 
Naught hut death can be expected. 
On their raoiparts, &c, 

A fhorus of women re-echo the warnings, anfl 
then comes the exhortation of tlie Druid priest 
("bass, Mr. Wetiierbee,) with chorus of Druiils, 
noble and majestic : 

The man who flieg 

Our sacrifice 
Deserves the tyrant's tether. 

The woods are free ! 

Disbranch the tree. 
And pile the steins together. 

Tn yonder shades. 

Till davliirht fades. 
We shall not be detected : 
Our trusty guards shall tarry here, 
And ye will be protected. 
With courage conquer slavi.'ih fear, — ■ 
Show duty's claim respected. 

The low, whispered chorus of the Druid guards, 
taking up their position in the passes, and of the 
rest exhorting them, is very effective : 

Disperse, disperse. 3'e g.illant men, 
Secure the passes round the gtea I 
Tn silence there protect them. 
Whos-» duties here direct them. 

A deep bass voice, one of the Druid guards 
(Mr. RyderJ, suggests the scheme for frighten- 
ing the enemy : 

Should our Christian foes a.ssail us. 
Aid a scheme that may avail us ! 
Feigning Demons, whom they fable. 
We will scare the bigot rabble ! 

And now follows the capital number of the 

work, in which IMendelssohn has given full reins 

to his fantastical invention, and employed all the 

sonorous means at his command. 

Chorus of Guards and People. 

Oome with torches brightly flashing; 

Rush along with billets clashing ; 
Thro' the night gloom, lead and follow, 
In and out each rocky hollow. 

Owls and ravens, 
Howl with us and scare the cravens I 

He has composed it con amore and with infinite 
glee, entering into the full spirit of the fun and 
noisy, wild diablerie. What with gong, and 
drums, and all the croaking, piercing sounds 
which reeds and piccolo afford, he works up the 
orchestra to the most wildly graphic accompani- 
ment — not ceasing to be musical even when it 
reaches a pitch that is almost stunning — while 
the voices seem all the more vividly witch-like 
for their harmonious rhythm. 

To this witch sabbath succeeds its opposite, a 
dignified, sincere, religious strain, led ofl[ in bass 
solo by the priest, and joined in by all the 
people : 

Restrained by might, 

We now by night. 
In secret, here adore thee 1 

Still it is day. 

Whene'er we pray, 
And humbly bow before Thee ! 

Thou can'st assuage 

Our foemen 's rage. 
And shield us from their terrors — 

The flame aspires ! 

The smoke retires ! 
Thus, clear our faith from errors! 

Our custom.s quell'd 

Our rights withheld. 
Thy light shall shine forever. 

Goethe gives the persecuted the benefit of the 
greater reality and sincerity of faith which wrong 
and suffering impart. It is the Druids here who 
have the courage and the comfort of the " inner 
light " at least, and of a trust in the All-Father, 
■while their Christian persecutors are the poor 
frightened fools of superstition. The next piece 
ja the breathless warning, recitative-like, of a 
Christian guard (Mr. Wadleigh) to his com- 
rades: 



Help, my comrades! see a legion. 
Yonfler comes from S:i tan's region ! 
See yon group of witclies gliding 

To and fro. in flarnes advancing; 
Some on wolves and drjigons riding. 
See, ah. see them hither prancing! 
What a clattering troupe of evil! 
Let US. let us quickly fly them ! 
Imp and Devil, 
f.ead the revel; 
See them caper. 
Wrapt in clouds of lurid vapor! 

Chorus of Guards. 

See the horrid hnggards gliding. 
Let us fly them, let us fly, &c. 

The trick being crownt'd with full success, the 

Druids pursue their .solemn rites in peace, and 

the Cantata concludes with solo of the priest and 

chorus to the words : 

Unclouded now, the flame is bright! 

Thus faith from error sever! 
Though foes may cloud or quell our light. 

Yet thine, thy light shall shine forever! 

The musical conclusion will hardly be found 
equal to the dignity and grandeur of this text. 
Indeed the closing chorus is about the least im- 
pressive portion of the work — judging from one 
rehearsal. 

Here then is material enough from which to 
anticipate a rare musical sensation. And Mr_ 
Lantr does not mean to allow us to come away 
without a clear impression of it ; but, in view of 
the novelty and the shortness of the " Walpur- 
gis Night," he will let us hear it twice in the 
same evening — a bold experiment, but we believe 
a good one. No pains have been spared to en- 
sure a good performance. 



Music of the Past Week. 

There has not been mucli worth chronicling, in an 
artistic pomt of view, during the last ten days ; al- 
though musical occasions, large and small, have been 
more than usually frequent. Music there always is, 
as the embarrassed guest said to the man who dined 
him : " Veiy good, what there is of it ; plenty of it, 
sucli as it is." 

The Orchestral Union, Wednesday afternoon, 
instead of a Symphony, gave Liszt's ".Preludes," — 
the third time it has been heard in tlie Music Hall 
this se.ison. Its fine traits and contrasts of sonority 
make it attentively listened to ; and we must own that 
the orchestra, on this occasion, acquitted themselves 
wonderfully well with it; it was capitally rendered, 
for the number of instruments ; the storm passage 
especially, was made unmistakeably graphic and vi- 
vid. Here is the whole ProEramme, which could not 
this time be called "heavy music for light listeners," 
as our new-born, bright-faced, clear-voiced friend, 
"The Monitor " (printed at Concord, Mass.,) has it. 
(By the way, do you not often find it heavy listening 
to light music ■?) : — 

1. Overture — To "Alessanrtro Stradella," .Flotow 

(First time in ten years.) 

2. Concert Waltz — " Schwangrader." Strauss 

.3. Les Preludes — A Spmphonic Poem F.Liszt 

4. Transcription — ''Napolitain, 1 am dreaming of 

thee," with Solos for French Horn and Cor- 
net, arranged by P. Suck. Messrs. Hamann 
and Heinicke. 

5. Polka — " Pauliuen." Gung'l 

6. Song — (arranged for Orchestra) "When the 

swallows homeward fly," Carl Bergmann 

7. Quadrille — From the Grand Opera, " Sicilian 

Vespers," by G. Verdi, arranged by Carl Zerrahn. 

Mr. Eichberg's clever little Operetta, or musical 
farce, " The Doctor of Alcantara," still grows in po- 
pularity at the Boston Museum, where it was per- 
formed last Saturday night, and again on Thursday, 
and still wins good opinions among really musical 
people. 

The Promenade Concert in aid of the patriotic ob- 
jects of the " Sanitary Commission," drew a large 
company to the Music Hall last Saturday evening, 
and was not without a fair amount of success materi- 
ally, as well as highly entertaining for the time being. 
The Germania Band played (with violins, too, as 
well as brass) good things and plenty of them ; Mad- 



ame Varian sang most acceptably some light and 
laughing, some sentimental and some stirring patri- 
otic songs ; the little Warren Street hoys drummed ; 
the little Zouaves paraded ; the little girls in white 
waved their American flags, and tliere was a good 
time generally, in token of " a good time coming." 

Musically, however, some of the best things have 
been done rather in a private way. Mr. Parker 
and his well-trained Singing Club of amateurs have 
repeated at Cliickcring's, to an invited audience, 
Gade's Ossianic Cantata " Comala," which seemed 
to us even more beautiful and true to the characters 
and feeling of the poem, than it did on the first hear- 
ing. The chorus of spirits, and the final chorus of 
bards w^afting the soul of Comala to heaven, are very 
grand. Yet with all its dignity and beauty, there is 
a certain monotony in the music, as there is in Os- 
sian. Solos and chornses were remarkably well ren- 
dered. The first part of the programme was chang- 
ed ; it consisted of a " Prayer : Da nnhis Pacem," by 
Mendelssohn; a Bass Song and Quartet from "Eli- 
jah"; a Batedictus, for Soprano solo and chorus, 
from a Mass bv Wehcr ; and two four-part Songs : 
" Vale of rest," by Mcudels'^ohn, and " Love in 
Spring-time," by Hanptmann ; — .all choice, and 
henntifully sung, especially the part-songs. 

The BosTOM Mozart Ci.cn (Amateur Orches- 
tra), bcsiilcs their successful C3ncert for the soldiers, 
of which we gave the firogramme last week, gave the 
foru'th !ind last of their regular " social orchestral 
entertainments " on Monday evening, with a good 
selection as usual : 

1. Symphony in D major Mozrirt 

2. "Soave Imagine" Aria from 11 Oiuramento Mercadante 

Sung by a Ladj' Amateur. 

3. Overture ''Prometheus'' Reethoven 

4 Andante from Symphony No. 4(UalIai) .Mendelssohn 
5. "La Separazione" from ''Les Soirees Musicales '' 

Rossini 
Sung by a Lady Amateur. 

6 Transcription of -'Serenade'' Schubert 

7. Overture "Le Nozze di Figaro'' Mozart 

The Soire'e Miisicale by several young artists, of 
which we gave the programme two weeks since, took 
place as announced at Hallett & Cumston's pianoforte 
warerooms, and we hear good report of it. There 
has been also a Choir performance of Handel's 
" Messiah " at the Harvard Street Church, which is 
said to have been creditable to those engaged' in it. 
And — to pass from grave to gay — we understand 
that amateur burlesques of Italian Opera — libretto 
funnily conceived in full-blown Italian operatic style, 
wi th music cunningly selected and dove tailed to- 
gether out of wel'-known operas — in short a species 
of lyrical " quodlibets," or " pasticcio.s" (as Handel 
called them) — are quite rife in this neighborhood. 
One, in the classic shades of Cambridge, has the 
pathetic legend of the " One fish-ball " for its mo- 
tive, and the sanitiis of " our army " for its justifica- 
tion ; another, more publicly exploited, flourishes in 
Chelsea. 

Owing to the Music Hall being otherwise engaged 
for a week, the next Wednesday Afternoon Concert 
is postponed to May 14th, when the Orchestral 
Union will play the " Pastoral Symphony," Reis- 
siger's Overture' to " Yelva," a Strauss waltz, &c., 
and Mr. Meisel will play a violin solo. This will 
he the l.'ith concert and the last but one. 



mml Intelliiffiia. 



New York.— The Tribune, April 23, speaks of a 
new Mass on Easter Sunday : 

The performance of the new Mass on Easter Sun- 
day, at the Sixteenth street Catholic Church, com-^ 
posed by Mr. Berge', its organist, was a complete 
success— admirable as regards composition and exe- 
cution. We were much struck with the beauty of 
the Credo, especially the Et resmrexil. The Hosanna 
in excehis was singularly beautiful. The author de- 
serves much credit for the equal manner in which he 
has divided his solos between the difterent voices. 
The ensemble was so good that, except by the in- 
crease of volume in the sound, it would he difticult 
to tell which were the solos and which the chorus. — 
We must compliment the bass in particular on the 
clear m.anner in which he enunciated the words, a 
rare beauty in the present style of singing. In con- 
clusion, we may lie permitted to remark that it is a 
pity all church-singers do not (like this choir) use the 
ftiano occasionally as well as the forte. 



40 



DWIGHT'S JOURNAL OF MUSIC. 



Mr. U. C. Burnap, a pupil of Edward Batiste, 
professor at the French Conservatoire, and one of 
the most eminent of French organists, gave an 
Organ Concert on the 24th ult., at the South Con- 
gregational Church, with this programme : 

Overture, "La Barcarolle," Auber 

Communion in G, (by request) Batiste 

Grand Offertorio in D minor Schmidt 

Meditation Ileligieuse \Ve\y 

Grand Organ Fugue Hesse 

Grand Caprice de Concert Batiste 

( a Pastorale. . Kullak 

1 b Verset Batiste 

Grand Marche Militaire \Vely 

Communion in E minor Lemmens 

Fantasia on " God save the King." 

New Stab.a.t Mater. — At Irving Hall, corner 
Fifteenth street and Irving pl.ace, Mr. J. M. V.. 
Busch will give, Thursday, April 24, a new, origina 
Stahat Mater at his Grand Vocal and Instrumental 
Concert. The Solo parts will be sung by Madame 
Clara M. Brinkerhoff, soprano ; Mile. Octavie 
Gomien, alto ; Mons. Jul. G. Durant, tenore, and 
Sr. R. Gonzalez, basso. Messrs. Dodworth's Or- 
chestra has been engaged. J. M. V. Busch, Con- 
ductor. 

Overture from the Opera II Don Giovanni Mozart 

Introduction, and the five first numbers of the Stabat 

Mater Dolorosa J. M. V. Busch 

Ave Maria, hymn for the Orchestra, arranged by J. M 

V. Busch Franz Schubert 

Dirge, conipo.sed at Copenhagen in 1349, in memory of a 

deceased warrior J. M. V. Busch 

Steuben Niitional March, composed and dedicated to the 

7th Regimcdt N. Y. S. M , by Krueger 

— Tribune, April 2-3. 

Mr. Busch 's " Stahat Mater " was not performed, 
owing to some difficulty with tlie orchestra. Tliere 
ought to be an Academy of Music, beside the dead 
walls which falsify that name, to produce works. 
The composer can only reach the public through such 
means. — Ibid. April 23. 

The fifth and last concert of the Philharmonic So- 
ciety was given last Saturday evening, the Sym- 
phony being Scliubert's in C, in which one of the 
critics finds no melody ! There were instrumental 
solos by Mr. WoUenhaupt, Hoffmann and Letch. 

Theodore Thomas, the popular orchestral conduc- 
tor and violinist, announces a grand vocal and instru- 
mental concert for May 13th. "Among other attrac- 
tions, it will contain the whole of Meyerbeer's music 
for his brother's tragedy of ' Struensee.' This 
popular and dramatic composition for grand orches. 
tra, with harp obligato and chorus, which enjoys so 
immense a reputation in Europe, has never yet been 
produced in this country. He will also bring, for the 
first time, before an American audience, Wagner's 
original and descriptive overture, ' I)er Fliegende 
Hollander,' one of the most successful works of the 
celelu-ated composer. Another novelty will be the 
performance, for the first time, of Moscheles's grand 
pianoforte composition, ' Les Contrastes,' the only 
one originally written for four pianists, the rendering 
of which has been entrusted to four of the leading 
ajtists in the country." (The " Fliegende Hollander," 
and " Les Contrastes" have been performed in 
Boston.) 

The Academy of Music was re-opened during last 
week with a performance of Rigoletto, La Figlio, La 
Favorita, &c. The Musical Review says : 

The new tenor, Signor Tombesi, is a lively little 
man, who sings with spirit, fire and intelligence, acts 
well, and would be in all respects a very good ac- 
quisition, were his voice as fresh and unfailing, as is 
his desire to please. He has one of those dark- 
colored voices which can bear a good deal of strain- 
ing, and we must say he profits largely of this quali- 
ty. That his sudden hoarseness in the second act 
proceeded from this cause, we have not the slightest 
doubt. 

Miss Kellogg was a charming Gilda. We earnest- 
ly hope, however, that her present success wil not in- 
terfere with her studies, for her singing requires still 
more finish. It is not enough, to attack the high 
tones correctly ; they must also sound melodiously, 
else they are better not sung. 

Brooklyn, n. t. — "The Easter Morning." — 
One of the best of the 743 musical works of Sigis- 
mund Neukomm, a cantata for soprano, tenor, and 



basso, solo and chorns, was performed last night by 
the Choral Society, under the lead of Mr. Edward 
Wiebe, of this city. The building (Orinnnd Place 
Church, Rev. Mr. French's) was crowded, the audi- 
ence attending by invitation. The exercises embrac- 
ed selections from eminent American and German 
composers and the above mentioned composition, 
which, for the first time, was performed in its adap- 
tation to Mr. W.'s own English version of the poetry. 
The affair was quite a success. The solos and cho- 
ruses were rendered in such a manner that none 
would have thought that so young a society ever 
could perform with such precision. If some of the 
solos showed a slight degree of nervousness on the 
part of any performer, all were nevertheless done in 
pood taste and some had to be repeated. The final 
chorus, containing a splendidly composed fugue, 
perhaps not so palatable for the larger part of the 
audience, was performed with a spirit peculiarly 
adopted to that style of composition. All the sing- 
ers seemed to do their part with a right good will, 
and this, together with the very commendable accom- 
paniment and the efficient load of Mr. W., made the 
whole of the evening's exercises a very pleasant 
entertainment to all who had the good fortune to be 
present. — Brookli/n Earjle. 

Philadet.phia. — The fifth Classical Soirfe of 
Messrs. Wolfsohn and Thomas took place in the 
Foyer of the Academy of Music, April 24th. 

A trio of Mendelssohn, a Sonata of Beethoven, 
(for piano and violoncello) and a quartet of Haydn 
were the concerted pieces. Mr. Wolfsohn and Mr. 
Thomas each played a solo and Mme. .Johannsen 
sane: two German songs. 

Miss CiiRiSTTANE SciiMiDT.whosc age. itappears, 
is only ten, instead of eleven, made her debut as a 
violinist on Saturday evening, at the Musical Fund 
Hall, before an audience much smaller than was to 
have been expected on such an occasion. She is a 
handsome, interesting child, and her violin playing 
is astonishintr. Rode's variations were playerl in a 
manner worthy of a mature artist. The Carnival of 
Venice, arranged by Ernst for two violins, was bril- 
liantly executed by her and her perceptor. Air. Carl 
Weber. Manrer's arrangement from 11 Pirnta was 
also elegantly performed. The little virtuosa has a 
brilliant career before her. Mr. Wolfsohn, Mrs. 
Behrens, Mr. Birgfeld and Mr. Droughman assist- 
ed. — Bulletin. 

Stracuse, N. Y. — One of the local journals no- 
tices an event " as worthy of the annals " of this 
classically named city : 

It is well known to many of your readers that on 
Easter Pay no pains are spared to make the services 
in the Catholic Church as interesting as possible, and 
to this end much time and labor are devoted to the 
music. At St. Mary's Church a new Mass by the 
organist, Mr. Wm. O. Fiske, was performed yester- 
day morning. The Mass is full of melody through- 
out, and by no means deficient in that for which 
classicists are such sticklers, viz : harmony. Did space 
permit we would like to mention the special beauties 
of the Sanctus, portions of the Credo and the Agnus 

Worcester, Mass. — The following is from a 
journal two or three weeks old : 

The Mendelssohn Quintette Club gave their 
second concert of the .season, on Tuesday evening 
last, at Brinley Hall. The programme was a good 
one, though of a lighter character than many had 
hoped for. They were assisted by Miss D. P. Pear- 
son, who sang the Scene and air from Semiramide : 
"Bel Raqgio" " The Angel's Whisper," and the Ro- 
manza from Preciosa " Se Contano," with flute obli- 
gato ; the latter piece being best adapted to her voice ; 
it was beautiful. Though the Irish Ballad was some- 
what too hackneyed for such a concert.she sang it well, 
and received an encore, in answer to which she gave 
a new patriotic song, with appropriate feeling. The 
concert opened with the Overture to Der Dichter and 
Bauer, by Suppe, and closed with the Grand Scena 
and Air from Der Freischiitz, introducing the beauti- 
ful Prayer; both pieces were well rendered. "Sou- 
venir du Tyrol," Fantasia for the Violoncello, per- 
formed by Wulf Fries, was a gem. His rendering 
was perfect, and his instrument spoke in such rich, 
eflFective tones, as to leave its deep impression on 
his hearers. The Quintet in Bflat, Op. 87, by Men- 
delssohn, was the principal feature of the programme ; 
it was thoroughly enjoyable. Schultze and Ryan 
both gave a solo. They give another concert in 
about a fortnight,when we trust the hall will be filled. 
Why may we not then have a programme strictly 
classical ? L. 



'perial Satites. 



DESCRIPTIVE LIST OF THE 
PubliMhed by Oliver Ditsoii &. Co. 



Vocal, with Piano Accompaniment, 

Alice where art thou. Romance. J. Ascker 25 

It is not often that we meet with the name of this 
favorite composer of Pianoforte music on the title 
page of a Song. It may be aurmised that the source 
whence flowed so many pleasing melodies for the Piano, 
will not be found less yielding of good things for the 
Singer. 

The Starry night. For three female voices. 

J. Concone 30 

An airangement for Class-singiog by the well-known 
excellent teacher of Singing whose lessons and Solfeg- 
gios have become so indispensable to the training of 
the singer. The original Freneh words are added. 

The leaving of the oM home. C. W. Glover 25 

A song, so well made, and laying so well for the voice 
that it will surely become popular, touching, as it 
does, a theme, which is dear to every heart. 

Loudon's bonnie woods and braes. Scotch song. 25 

A famous old Song which the many admirers of the 
Scotch lyric muse will he glad to see in print again. 

Where art thou, wandering little bird, F. Mon 25 

An effective Song by a diRtinguished English ballad- 
ist. It has often figured in Loudon Concert Pro- 
grammes and spems an established favorite with the 
public there. 



There's music in thy heart. 
Melodious and simple. 



Robert Bell 25 



Instrumental Music. 
Magdalena. Transcription. T. BadarzewsJci 40 

An elegant Fantasia on an old Church-air In the 

usual happy style of the author. 

Juniata Quadrille, on favorite airs, P. Laroche 60 

The airs are well selected, and well arranged. No 
dancer will find fault with the music. There is avery 
pretty Vignette on the title page which makes the 
pieces aa attractive to tha eye as it is to the ear. 

Within a mile of Edinboro'. Transcribed. 

A Baiimhach 25 

An elegant arrangement of medium difficulty. 

Cujus animam. Transcribed. Brinley Richards 40 

In this author^s usual brilliant style. 



Almeda Quadrille. 



Roh(nt Bell 35 



A rather simple Quadrille, well adapted for the 
Drawing-room. 

Books. 

Thalbebg*& L'art du Chant. (The Art of 
Singing applied to the piano.) Handsomely 
bound in cloth. 3,00 

The piano cannot render that which is most perfect 
in the beautiful art of singing, namely, the faculty of 
prolonging sounds, but the player may overcome this 
imperfection with address and skill. How this may 
be done, the great Player has shown in twelve Trans- 
criptions of melodies from the maaterworks of great 
composers. The melody is engraved in large notes, 
so as to stand out and be recognized easily. They are 
all figured, and are as invaluable to the accomplished 
pianist as to the student, who wonld get at the root 
of the marvellous effects which Thalberg produces in 
his playing. 



Music bv Mail.— Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance witl find 
the conveyance a saving of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 



Whole No. 



BOSTON, SATURDAY, MAY 



186 2. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 34). 
To WiLHELJI TaUBERT. 

Lucerne, August 27, 1831. 
* * * * I hardly know for which to thank 
you first : whether for the pleasure which you 
gave me while in Milan by your sonps, or for your 
kind letter, which I received yesterday. But 
both belong together, and so I think we have 
already made acquaintance.lt is quite as well to 
be introduced to one another through the medium 
of music pages, as to have it brought about in 
company by a third person ; indeed it is a shorter 
way to become nearer and more intimate. Be- 
sides, the people, who introduce one, commonly 
pronounce the name so indistinctly, that you 
seldom know whom you have before you ; and 
they never tell you whether the man is friendly 
and good-humored, or dark and gloomy. We 
are more fortunate. Your songs have expressed 
your name with perfect clearness and distinct- 
ness ; in them it stands written how you think 
and what you are, that you love mnsic and wish 
to make progress; and so perhaps I already know 
you better, than if we had seen each other often. 
How pleasant, and how good it is, to know of one 
musician more in the world, with the same aim 
and aspiration, and pursuing the same 'path, is 
something of which perhaps you cannot conceive, 
as I now feel it coming from the land where 
music is no more alive among the people. Until 
now I could not have thought this of any coun- 
try, least of all of Italy, amid such rich and 
blooming nature, and such inspirations of the 
past ; but my last experiences there, alas ! have 
shown me, that more has died out there than 
merely music ; it were indeed a wonder, if there 
could be a music anywhere, where there are no 
principles. It quite bewildered me at last, and I 
fancied that I had become a hypochondriac ; for 
I was not at all pleased with all that buffoonery, 
and yet I saw a multitude of serious people and 
staid citizens entering into it. When they played 
to me anything of their own, and afterwards 
praised and extolled my things, it was more 
revolting to me than I can tell;— in short I 
wanted to turn hermit, with beard and cowl, and 
the world seemed wrong to me. In Italy one first 
learns to value a musician, that is to sayi 
one who thinks of music, and not of money' 
or decorations, or the ladies, or renown. There 
it is doubly delightful to perceive that elsewhere 
too the same ideas live and develop themselves, 
unawares to one. Therefore your songs delighted 
me especially, because I could read from them 
that you must be a musician ; and so we will 
shake hands across the mountains ! 

But now I beg you also to consider me a more 
near acquaintance, and not write so formally of 
my " giving advice " and " instruction." It is 
almost painful to me in this letter, and I do not 
exactly know what I can say to it. The best 



about it is though, that you have promised to send 
me something at Munich, and to write to me 
again. There I will speak right out to you from 
my heart, just as it impresses me, and you shall 
say the same to me about my more recent things, 
and so we will give each other mutual counsel. 
I am really very eager to see the new composi- 
tions which you promise me ; for certainly I shall 
have great delight in them ; and much, that is 
everywhere forshadowed in the earlier songs, 
will surely come out clearly and distinctly there. 
Therefore I cannot say a word to you to-day 
about the impression, which your songs have 
made upon me, because it may easily be, that 
any question or objection I might make, would 
be answered beforehand in what you are about to 
send me. I would only beg you to write to me a 
great deal and fully about yourself, so that we 
may become more and more nearly acquainted 
with each other ; I on the other hand will write 
to you my plans and thoughts, and so we will 
keep constantly related. Let me know what 
new things you have composed and are compos- 
ing, how you live in Berlin, what your plans are 
for the future, — in short all that concerns your 
musical life — it will be of the greatest interest to 
me. To be sure I shall already have that in the 
notes,which you have so kindly promised me ; but 
fortunately the two things go together. 

Have you then as yet composed nothing larger ? 
a real wild symphony ? or opera ? or something 
of the sort. I for my part have now an irrepres- 
sible desire to write an opera, and have scarcely 
patience to begin anything else or smaller ; I 
believe, if I had the libretto to-day, the opera 
would be ready tomorrow, for I feel so strong 
an impulse to it. Formerly the mere thought 
of a Symphony was something so transporting, 
that I could think of nothing else whatever, with 
one in my head ; there is something so solemn, so 
heavenly in the sound of instruments; and yet I 
have let a Symphony, which I had begun, lie un- 
touched for a long time, in order to compose a 
Cantata by Goethe, merely because there I had 
voices and choruses besides. I will now finish 
the Symphony, to be sure ; but there is nothing 
I wish more, than a good Opera. But where the 
text is to come from, I am more at a loss than 
ever since last evening, when, for the first time 
for more than a year, I came across a German 
sesthetic journal again. It really looks as chaotic 
on the German Parnassas, as in European poli- 
ties. God be with us! I had to digest the 
supercilious Menzel, who modestly comes out in it, 
to disparage Goethe, and the supercilious Grabbe, 
who modestly disparages Shakespeare, and the 
philosphers, who find Schiller after all too trivial ! 
Is this modern high-flown and discomfortable 
spirit, this cross-grained cynicism as disagreeable 
to you, as it is to me, I wonder ? And are you 
of my opinion, that it is the very first condition 
for an aftist, that he have respect for what is 
great, and bow before it, and recognize it, and 
not try to blow out the great flames, to make the 
small "tallow candle shine a little brighter. If a 



man does not feel what is great, how, I should 
like to know, will he make me feel it ? And if 
all these fellows, with their lofty contempt, are 
only able after all to bring out imitations of this 
or that mere superficiality themselves, with no 
conception of that free, fresh creative mood, all 
nnconcerned about what people say, and about 
Aesthetics, and critical judgments, and all the 
rest of the world, — is one not to abuse them ? — I 
abuse them. But do not take it ill of me ; per- 
haps this is out of place ; it is only that I had not 
read anything of the sort for a long time, and it 
put me out of humor, that this nonsense should 
be still going on, and that the philosopher, who 
maintains that Art is now dead, should still keep 
maintaining. Art is dead, as if it could ever really 
die!— 

But these are strange, wild, thoroughly excited 
times, and whoever feels that Art is dead, should 
let it rest in peace for God's sake. But however 
wildly the storm may rage without, it will not 
pull our houses down about our ears at once ; 
and if one stays in and works calmly on, and 
only thinks of his powers and his object, and not 
of those of other people, it often passes over, and 
one cannot realize it to himself afterwards under 
so wild an aspect as it wore to him at the time. 
That is wliat I propose to do, as long as I am 
able, and go quietly along in my own way ; for 
no one will dispute me, that there is such a thing 
as Music, and that is the main thing. How 
delightful it is now to find some one, who chooses 
for himself the same end and the same means, 
and how refreshing every new assurance of it is, 
— is what I should like to tell you, but I don't 
know exactly how to do it. You will imagine it 
for yourself, as indeed you will have to supply 
the best part of this letter out of your own mind ; 
and so farewell, and let me hear from you speed- 
ily and fully. Pray give my best greetings to 
our dear Berger ;* I have always wished to write 
to him, but have not accomplished it; but it shall 
be done soon. Pardon this long, dry letter ; the 
next one shall be better ; and once more farewell, 
your 
Felix Mendelssohn Baktholdt. 

Rigi Culm, Aug. 30, 1831. 

I am on the Kigi ; more I need not say, for 
you know the mountain. If it only were not all 
so inconceivably beautiful ! 

This morning I came away from Lucerne ; all 
the mountains were overhung ; the weather-wise 
ones prophesied bad weather ; but as I have always 
found that it turned out just the opposite of what 
these wise ones say, I have looked out for 
my own symptons, and so far have prophesied as 
felsely as the rest. But this morning's weather 
did not suit me badly, and as I did not wish to 
go right up, while all was overhung with clouds, 
(for one grows prudent after such an experience 
on the Faulhorn), I crept about the foot of the 
Rigi all the morning, and looked up, to see if it 
would not clear off. Finally about twelve o'clock, 

* Ludwig Berger, Mendelssohn's pianoforte teacher. 



42 



DWIGHT'S JOURNAL OF MUSIC. 



in Kiissnacbt, I stood at the parting of the ways, 
on the right to the Rigi, on the left to Immensee, 
decided not to see the Rigi this time, took leave 
•with some emofionjivent through the Hohle Gasse 
to the lake of Zug, along the water, by a lovely 
path, to Arth, but still kept squinting up toward 
the Rigi Culm, to see whether it was not coming 
out clearer. And while I dined in Arth, it grew 
clear ; the wind was very good ; the clouds were 
lifted on all sides ; I decided, and went up. But 
there was no time to lose, if I would see the sun- 
set ; so I went at a sturdy mountain pace, and in 
two hours was at the well-known house upon the 
Culm. 

There I saw about 40 men standing above 
with upraised hands, admiring, pointing, with the 
liveliest excitement. I ran up ; another new 
and wondrous spectacle ! In the valleys all was 
full of mist and clouds, while above high snowy 
mountain chains, and glaciers with the black 
rocks, looked out pure and clear. The mists 
moved onward, — covered a portion of the sceie; 
then came out the Bernese mountains, Jungfrau, 
Mbnch and Finsteraarhorn ; then Titlis and the 
Unterwalder mountains ; at last the whole chain 
stood distinctly out ; and now the clouds began 
to break up also in the valleys ; you saw the 
lakes, Lucerne and Zug, and towards sunset only 
thin, bright streaks of vapor lay upon the land- 
scape. Coming out of the mountains as I did, 
and then looking toward the Rigi. it is as if the 
overture and other pieces came back at the end 
of the opera : all the places where you had seen 
such heavenly views: the Wengern Alp, the 
Wetterhorns, the Engclberg valley, you now see 
lying close beside each other, and can take your 
leave of them. I imagined that the effect could 
only be so great the first time, through surprise, 
before one knows the glaciers ; but it is almost 
greater at the last. 

Schwyz, Aug. 31. 

To-day and yesterday I have gratefully recog- 
nized, under what fortunate auspices I made 
my first acquaintance with this part of the 
world ; and how much it contributed to open, or 
sharpen my sense for it, to see you at that time 
in the highest state of admiration, forgetting in 
your wonder all that is every-day and common. 
To-day I have frequently remembered your de- 
light, and how it made an impression on me at 
the time. Evidently the Rigi has become at- 
tached to our family, and in its loyalty has grant- 
ed me again to-day as pure and glorious a 
sunrise, as it did then. The waning moon, 
the merry Alpine horn, the long protracted rosy 
hue of morning, which first lay about the cold, 
shadowy snow mountains, the little white clouds 
over the lake of Zug, the clearness and sharp- 
ness of the jagged peaks, leaning towards one 
another in all directions, the light, which gradu- 
ally showed itself upon the heights, the people 
tripping about and shivering in their bed blan- 
kets, the monks from Maria Zum Schnee, — no- 
thing was wanting. I could not tear myself 
away from the sight, and remained there sLk 
hours longer on the summit, gazing at the moun- 
tains. I thought that much must become chang- 
ed before we should meet again, and wanted to 
impress the scene upon my mind as firmly as pos- 
sible. People went and came too, and they 
talked about the dark and anxious times, abont 
politics, and the bright mountains over there. So 



the morning passed away ; and finally at about 
half-past ten I had to go. It was high time, for 
I wished to go on to-day to Einsiedeln, over the 
Hacken. But on the way over the steep path 
to Lowerz my faithful umbrella, which had also 
served me as a mountain stafl, broke into many 
pieces ; that detained me, so that I preferred to 
remain here, and start fresh in the morning. 

Wallenstadt, Sept. 2. 

(Year of rain and storm.) Blotto of the 
drowned coppersmith : •' He that can't sing an- 
other strain, must begin the old one over again 1" 
Here I sit again in the midst of fog and clouds, 
can neither go forward nor go back, and, fortune 
favoring, we may have another little inundation. 
As I sailed over the lake, the boatmen prophesi- 
ed capital weather; consequently it began in 
half an hour to rain, and is not likely to hold up 
so very soon ; for the clouds hang gloomily and 
heavily again, as you only see them in the moun- 
tains. Three days hence it might be as bad, and 
I should care nothing about it ; but it would be a 
pity, if Switzerland should make up such an 
ugly face at me as I am taking leave. I have 
just come from the church, where I have been 
playing the organ for three hours long, deep into 
twih'ght. An old, lame man blew the bellows ; 
besides him there was no one in the church. The 
only registers that could be used, were a very 
weak, hollow sounding flute in the Manual, and 
a quavering 16-foot Sub-bass in the Pedal ; with 
these I extemporized the whole time, and came 
at last into a Choral melody in E minor, and was 
unable to recall where it came from. I could 
not get rid of it, and suddenly it occurred to me, 
that it was the Litany, the music of which lay 
in my head, because the words lay in my 
heart ; so now I had a wide field, and plenty 
to extemporize. At last came the consumptive 
Sub-Bass, deep down, all alone: 

1 . .. , etc. 



mmwmmmmm 



r-f= 



in E minor ; and then came in the Flute again 
far above with the Choral in E minor, and so the 
organ gradually hummed itself out, and I was 
obliged to stop, because it had grown so dark in 
the church. 

Meanwhile it rained and stormed terribly out- 
side ; of the grand high rock walls not a trace 
was to be seen ; the dreariest weather ! Tben 
too I read dreary newspapers, — and so all was 
gray. Tell me, Fanny, do you know Auber's 
" Parisienne ?" That I regard as the worst thing 
he has made ; perhaps because the subject was 
really a high one, but also for other reasons. To 
compose for a great people, in the grandest state 
of excitement, a little, cold, common, trifling 
piece — Auber alone could do such a thing. The 
refrain enrages me, as often as I think of it ; it 
is like children playing with a drum, and singing 
to it, — only worse. The words too are good for 
nothing ; little antitheses and points ai-e out of 
place in such a thing. But the music with its 
emptiness I A march for rope-dancers, and after 
all a mere miserable copy of the Marseillaise ! 
That is not the thing for the times ; or woe unto 
us, if that is the thing for the times, — ifr it had 
to be a mere copy of the Marseilles Hymn ! 
What in the Hymn is free, bold, full of inspira- 
tion, is here ostentatious, cold, — calculated, arti- 



ficial in its make. The Marseillaise stands as far 
above the Parisienne, as everything, that springs 
out of true enthusiasm, stands above that which 
is made for something, even if it be for enthusi- 
asm. It will never go to the heart, because it 
does not come from the heart. By the way, no- 
where do I find so striking a resemblance between 
musician and poet, as between Auber and 
Clauren. Auber translates faithfully, note for 
note, what the other says word for word : the 
bragadoccio, the infamous sensuality, the pedant- 
ry, the dainty bits, the coquetry with foreign na- 
tionalities. But how will you expunge Clauren 
from the history of literature ? And does it do 
anybody any harm, that he holds a place in it? 
Does it make you any the less glad to read some- 
thing good ? A young poet cannot have got far, 
if he does not heartily despise and hate such stuff. 
But then the people like it, it is true ; it is all 
very well, only it is the people's loss. But write 
me your opinion about the Parisienne. I sing it 
to myself for fun sometimes as I walk along ; 
you can imagine yourself a chorister marching 
in procession. 

Sargans, Sept. 3. 
Noon. 
Clieerless weather. It has rained again all 
night and through this morning, and moreover it 
is cutting cold as in winter ; deep snow lies al- 
ready on the nearest hills. In Appenzell a 
fearful inundation has occurred again, doing the 
greatest damage, and desolating all the streets; 
on the lake of Zurich there are plenty of [>il- 
grimages and processions on account of the 
weather. I was obliged to drive here this morn- 
ing, because the roads stand full of mud and 
water ; and now I shall remain here till to-mor- 
row, since the diVu/ence comes through here very 
early, in which I think of going up the valley of 
the Rhine as far as Altstetten. Probably to- 
morrow evening I shall be already on or over 
the border of Switzerland, for the pleasure jour-, 
ney is now ended. Autumn is here, nor need I 
complain, if I do have a couple of tedious days, 
after so much that is beautiful and never to be 
forgotten. On the contrary I almost like it ; 
there is always enough to do here, even in such 
a nest as Sargans, and even in such a deluge as 
to-day, for fortunately no place here is unpro- 
vided with an organ. They are small to be sure 
— the lower octave both in Manual and Pedal 
broken, or as I call it, crippled ; still they are or- 
gans and that is enough for me. To-day I have 
played all the morning, and have begun to study, 
since it is really a shame that I cannot play the 
principal things of Sebastian Bach. In Munich, 
if it is practicable, I mean to practice an hour 
every day ; for I have to-day, after a few hours, 
made some progress with my feet (noia bene, sit- 
ting). Ritz had told me that Schneider in Dres- 
den had played to him the D major Fugue in the 
"Well-tempered Clavichord," 






-^-i^' - . - , 

upon the organ, taking the basses with the 
Pedal; that always seemed to me so fabulous, 
that I never fairly comprehended it. This 
morning it occurred to me again at the organ ; I 
set about it without delay, and have at last got! 
so far as to see, that it is not at all impossible,) 
and that I will learn to do it. The theme wentj 



BOSTON, SATUEDAY, MAY 10, 18 6 2. 



43 



pretty well Rlready ; and in this way I have also 
practised the passases from the D major Fugue 
for orjran, from the F major Toecata, and the G 
minor Fugne, which I knew by heart. If I find 
a regular and not imperfect organ in Munich, I 
will learn it, I will take a childish delight in 
playing these things on the organ. The Toccata 
in F major with the modulation at the close sounds 
as it the church would tumble down. That was 
a terrible fellow for a Cantor ! 

Besides the organ playing I have also much to 
e.\ecute in my new sketch book (one was finish- 
ed full of sketches at Engelberg). Then I must 
eat like 600 fighters, — after dinner practise the 
organ again, and so passes the rainy day at Sar- 
gans. It seems to be beautifully situated, with 
the castle on the hill ; but one cannot set his foot 
out of doors. 

Eoening. Yesterday at this time I still had 
pedestrian projects, and wanted at least to go 
through the whole of Appenzell ; it was strange 
enough to me to learn, that the mountain travel 
was probably all over for this year. All the 
heights are thickly <'0vered with snow ; for as it 
has rained here in the valley for the last 36 hours, 
so it has snowed above ; the herds must come 
down froni the Alps, where they should have re- 
mained for a month more 3'et, so that of course 
a footpath is out of the question. "Yesterday I 
was still on the mountains, and to-day for the 
next half year it is impossible. The foot jour- 
ney is finished, and was wonderfully beautiful ; I 
shall never forget it. Now we will apply our- 
s 'Ives industriously again to making music. It 
is high time for it. 

I have just been practising the organ again 
until twilight, and was treading about furiously 
upon the Pedals, when we suddenly remarked 
that the deep C sharp in the Sub-bass kept hum- 
ming on quite softly, but incessantly. All my 
pressing, rattling and pushing of the keys was of 
no use ; we had to climb up into the organ, among 
the big pipes ; still the C sharp hummed softly on ; 
the fault lay in the wind-chext ; the organist was 
in great tribulation, because to-morrow is a festi- 
val day; so finally I had to stuff my pocket hand- 
kerchief into the pipe, and then it made no 
further humming, but also no C sharp. I kept 
continually playing this instead : 



'.-jHI; 



z^Jl^i - - 



it goes very well. Now I will finish my drawing 
of the Rhone glacier, and then the day belongs 
to me, i.e. I go to bed. On the next page I will 
write where I shall be to-morrow evening ; but 
as yet I do not know. Good night ; it is striking 
eight in F minor, and it rains and storms in F 

I sharp minor, or G sharp minor, — in all possible 

I keys with sharps. 



M^fiisfi^i 



i 



St. Qallen, the 4th. 

Motto: Vous pensez que je suis VAbbe de St. 
Gall (Citoyen). For I feel so comfortably here 
now, after braving storm and tempest. The four 
hours over the mountains from Altstetten to this 
place were a regular battle against the weather. 
When I say, that I never experienced anything 
like it, or supposed it possible, it is saying no- 
thing ; but the oldest people of the Canton say 



the same. A large manufactory has been de- 
molished and several lives lost. To-morrow, in 
my letter from the last place in Switzerland, I 
will tell you how I had to go on foot once more, 
and how I reached heie, having come across 
through Appenzell, looking like Egypt after the 
seven plagues ; for now the dinner bell is ring- 
ing, and I shall feast like an abbot. 

(To be continued.) 



Original MSS. of Great Composers. 
" A. W. T.," (our " Diarist ") calls the atten- 
tion of the Editor of the Muftlcal World (Lon- 
don) to the very great value which mere descrip- 
tions of original MSS. of works by the great 
composers can have for the collector of biogra- 
phical materials. He says : 

Especially is this the case with Handel, who so 
carefully dated his MSS., — an ex.nmple followed, 
thouffh not always, hy Beethoven. How it was with 
Haydn I do not know. But, besides the value of a 
manuscript in a critical revision of a work for publi- 
cntion, there arc often points about it, even if undat- 
ed, whicli may render a description certainly worth 
putting upon record in some periodical pulVlication. 
There must ho many of Haydn's MSS. scattered 
about in Knt^land : why not have descriptions of 
them put into the possession of the public through 
the medium of your press ? Personally I am at 
present more interested in Beethoven's MSS., and 
would hcnrtily tiiank any person who would aid in 
niakinp: known what there is from Ids pen in Ens- 
land, and wiictlier any peculiarities are presented 
worthy of note. As specimens of such desci'iptions 
aid to show what interest such MSS. may have, I 
ropy from my notes the following, in relation to two 
MSS. kindly offered me for inspection by Horr 
Johnnn Nepomuk Kafka, a teacher and composer of 
this citv. I translate the remarks of Beethoven on 
the MS., as the original German would have few 
charms for most of your readers. 

The first of these MSS. has. in Beethoven's own 
hand, the following title, in which, it will be noticed, 
the first word wants a letter or two : — 

"Gran Sonate, Op. 28, 1801, da L. T. Beethoven." 

Pifty-one pages, oh. 4to. In the rondo, in two cases, 
a new p.ige is sewed over the original, and very dif- 
ferent music written. The corrections and altera- 
tions in the first movement are very numerous ; in 
the nndavif and scherzo comparativelv few, the prin- 
cipal ones in the latter bcina: an erasure of seven 
bars in the srhirzo, and of eight in the trio. The 
rondo ao^.nin is much cut up. 

On the blank page, after the close of the sonata, 
Beethoven has written part of a canon (?) to the 
word.5 "Hoi' dich der Teufel," after which is a short 
piece for two voices .and chorus, in which the violin- 
ist Schuppanzigh is called an "ass," a "sc.imp," a 
" Swine-stomach," &e., and the chorus sings — 

"We all ne:ree to this, thou art the greatest 
Ass! soamp I he, he, haw " 

Herr Kafka is of opinion that this was written 
upon occasion of some quarrel. On the other hand, 
I put it with the broad jests of that day, which were 
not wholly unknown in other cities besides Vienna, 
as the anecdotes of artists, actors, dramatists, &c., 
very abundantly show. 

The second of the MSS. is the " Waldstein Sona- 
ta," Op. .'i.S. You no doubt remember what Ries 
says of this (see Schindler's Life of Beethoven, edited 
By Moscheles, vol. ii. p. 297) : — " The Sonata in C 
major (Op. f>5), dedicated to his first patron. Count 
Waklstein, had originally a long umlnnte. A friend 
of Beethoven's pronounced this sonata to be too 
long, which brought him a volley of abuse in return. 
Upon quietly weighing the matter, however, my 
master convinced himself of the truth of this asser- 
tion. He then published the grand Andante in F 
major, three-eighth time, separately, abd afterwards 
composed the highly interesting introduction to the 
rondo such as it now stands." See now how the 
MS. confirms Ries, as appears from my notes. 

This MS. has no title other than "Sonata Grande," 
in very small letters, and is without date ; thirty-two 
leaves, ob. 4to. On the margin of the first page of 
the alleqro is written, in Beethoven's own hand, "N. 
B. Where Ped. stands all the dampers are to be 
raised, both bass and descant. '0' signifies that they 
are allowed to fall again." The first movement fills 
thirteen le.avcs, and has few corrections — for Beet- 
hoven. Then follow three and a halt pages of " In- 



troduzione" adagio, of which half a page has been 
crossed out. This is in a lotnlhi different ink. Half 
a leaf is sewed to the lowsr half of the fourth page 
of tliis " Introduzione," and contains the beginning 
of the rondo, and thenceforth the ink is the same as 
that of the first movement. On the last page Beet- 
hoven has written, " For those to whom the shake, 
where the theme and the shake occur together, is too 
ditficult, the passage may be made easier thus : — 



2 — — 6 -f- .-~ — 6 — r 



or, according to their powers, double this, as 



:rc'?'?^?=c'^&^J 






' ■ ■ ■ I . . 



Of these sixes two will be struck to each quarter 
note in the bass ; besides, it is of no consequence if 
this trill loses somewhat of its usual rapidity." 

Such short notices of MSS. have for the his- 
torian a value of whicli most readers have little con- 
ception. A. W. T. 

Vienna , .Tanum-y 27, 1862. 



Managerial Puffing. — The London Opera 
Season. 

[From " The Illustrated Times."] 

The system of "every theatrical manager his own 
critic" has of late been gaining ground immensely. 
Mr. "Webster's opinion of Mr. Bourcicault's dramas, 
Mr. Buckstone's opinion of Mr. Sothern's acting, 
are now proclaimed daily in the playbills as a matter 
of course. Thus the public arc told not onlj' what 
they m.iy have for their money, but also why what 
they are invited to have is particularly and pre- 
eminently worth having. C:in anything be more 
rensonaliie ? The cheap tailors do precisely the same 
thing; and were it not for its advertisements, the 
firm of Moses & Son would be unknown beyond the 
precincts of the Minories, instead of enjoying, as 
it actually does, a well-earned notoriety in every part 
of the civilized world where the British journal pene- 
trates. 

Hitherto, from some mistaken notion of dignity, 
our leading operatic managers have usually abstain- 
ed from the following in the steps of the most emin- 
ent ,Tew clothiers and slopsellers. We do not blame 
them for it. We only mention the fact, and have 
endeavored to some extent to explain it. It must be 
remembered, that in many countries, and occasional- 
Iv even in England, operatic managers have been 
men of considerable literary and artistic attainments 
(more than one author of distinction and some of the 
best composers of the day have directed operas dur- 
ing the last fifty years), and, not being mere speculat- 
ors, or at all first rate men of business in the Min- 
ories sense of the word, they have not understood 
the great advantage of addressing themselves ex- 
pressly to the ignorant and vulgar, who, in all com- 
munities form the immense majority, and who, there- 
fore, ought especially to be studied. The competi- 
tion of the music halls, however, seems at last to 
have convinced our operatic impresarios of the ne- 
cessity of abandoning the antiquated system of an- 
nouncing only the names of the singers engaged and 
the works which they meditate bringing out. To be 
sure the vocalists whose services are retained at the 
various "music-balls" are usually quite unknown to 
the public ; so that there is more necessity far vio- 
lently calling attention to (/lei'r merits than to those 
of Mario and Titiens, or of Patti and Giuglini. 
But both systems have been tried — the quiet and 
the loud ; .and just now it is evident that the loud is 
everywhere found the best. Let us go with the times, 
and in a spirit of becoming impartiality, let us net 
impute to Mr. Gye and Mr. Mapleson faults with 
which we should never have thought of charging Mr. 
Morton or Mr. Weston. 

The only thing we have really to complain of in 
this novel plan (as .applied to the opera) of "every 
manager his own critic" is that the critic, who is not 
a manager, has his bands tied by it. What is he to 
say to the public about the merits of Mad. Chan- 
terelle or of Signer Squallinalto, when the public 
has been already informed, through the medium of a 
dozen advertiseraents,that the former is "a true artist 
in every sense of the word," and that the latter is 
"decidedly the first tenor of the day V The point 
is settled at once by such statements as these, and all 
that is lelt to the unhappy journalist is to para- 



44 



DWIGHT'S JOURNAL OF MUSIC, 



phrase, adorn, elaborate (to intensify would be im- 
possible) the praise so liberally accorded by the di- 
rector to the sintjer he has thought (it to enjage, and 
with whose merits he musl naturally have made him- 
self acquainted before signing the contract. To 
question the impresario's opinion wonld ho unbe- 
coming ; to contradict it — wonld be impossible. Here 
and there we may be allowed to offer a remark in 
corroboration of what has already been advanced b}' 
the director ; but, generally speaking, the modest 
part we have henceforth to play is that of echo to 
the managerial thunder. The directors of the two 
rival Operas appear to be equally impressed with 
the importance of the coming International Exhibi- 
tion. " It will naturally be a source of pride and 
gratification to the musical amateurs of this country 
to know," says Mr. Gye, "that among the wonders 
and sights of London the Opera will not suffer by 
comparison with that of other great capitals ; but, 
on tlie contrary, that the general and received opin- 
ion will be confirmed by our guests that, whether the 
individual talent of its different members or the per- 
fection of its general ensemble be considered, the 
Royal Italian Opera stands pre-eminent among all 
similar establishments. To maintain, therefore, the 
reputation of the Koyal Italian Opera, every effort 
will assuredly be directed, and such arrangements 
made as will tend to secure a most brilliant season." 
As for Mr. Mapleson, he appears to have resolved 
to open Her Jlajcsty's Theatre simply and solely he- 
cause he imagined that if, diu'ing tlie International 
Exhibition, it remained shut, all England would be 
disgraced. This is kind of Mr. Mapleson, and 
proves that he has a good heart. But let him speak 
in his own words: — "Called upon unexpectedly 
(name of the person or persons calling upon him not 
mentioned) at a moment when the metropolis was 
about to he deprived of the pcrformnnces of Italian 
opera in this great and renowned Temple of tlie 
Muses, and at a time when a vast influx of 
visitors from all parts of the world ai-e expected to 
visit London during the International Exhibition, 
rendering it almost a national disgrace if Her Mnjes- 
ty's Theatre should remain closed on such an occa- 
sion, Mr. Mapleson is deeply impressed with the re- 
sponsibility of his undertaking." More than that, 
Mr. Mapleson has engaged a company which includes 
many well-known and admirable singers, such as the 
incomparable Mile. Titiens and Madame Guerrabella 
among the sopranos, the sisters Marchisio of duet 
celebrity, Signor Giuglini among the tenors, and Sig. 
Gassier among the barytones. Of course, a num- 
ber of foreigners and not a few British provincials 
will continue to think for many years to come that 
Her Majesty's Theatre is still, and has never ceased 
to be, the Italian Opera par excellence of London. — 
"Its august appellation," says Mr. Maplesone, grave- 
ly, "identifies it in the idea of many as the Govei'n- 
ment theatre." For the benefit of strangers, it would 
perhaps have been more ingenuous not to have pub- 
lished this last remark. We observe that Mr. Ma- 
pleson is determined to make as much as possdjie 
out of the ancient reputation of "Opera House ;" 
and, moreover, do great things in order to keep it up; 
for he informs us that, " to retain the old prestige of 
Her Majesty's Theatre, the nights of the performance 
in future will be Tuesdays, Thursdays, and Satur- 
days !" 

To increase the amount of subscriptions at the 
Royal Italian Opera, the nights of performance at 
that theatre in future will be Mondays, Tuesdays 
Thursdays, and Saturdays, and there will be a double 
subscription list. Mr. Gye, abso, (like Mr. Mapleson) 
looks back with some solemnity to the past, and tells 
us that he cannot but be gratified still to find around 
him so many of those artists who have long assisted 
to sustain the reputation of his theatre" — meaning, 
we presume, those veterans, Mario, Ronconi, and 
Taiuberlik ; as well as Mad. Didee. who, though 
she has been many years at the Royal Italian Opera, 
is still quiet and eminently in her prime. Nor can 
the veterans — veterans as they are, and though they 
have scarcely two voices between the three — possibly 
be replaced with advantage. These singers of a past 
or passing generation have genius, minus a certain 
amount of singing power. Many of the younger 
tenors and barytones have more singing power, but 
no genius. 

But to return to the new and improved system of 
advertising adopted by the rival operatic managers, 
let us invite the notice of our readers to the following 
curiously elaborate eulogium on Mile. Titiens : 

" It is seldom that Nature lavishes on one person all the 
varied gifts which are needed to form a great soprano. A 
voice whose register entitles it to claim this rank is of the 
r.arest order. Melodious quality and power, which are not 
less essential than an extended register, are equally scarce. — 
musical knowledge, executive finish, and perfect intonation 
are indispensable : and to these the prima donna should add 
di'umatic force and adaptability, and a large measure of per- 
EODal grace. Even these rare endowments will not suffice un- 



less they are illumined by the fire of genius. By one alone, 
of living artists, haa this high ideal been reached — by Mile. 
Titiens." 

The manager of Her Majesty's writes with a big- 
ger and broader nibbed pen, and is a greater hand at 
a flourish than we can pretend to be ; but he does 
not go beyond us in admiration of Mile. Titiens, 
who is certainly by far the greatest dramatic singer 
of the day. She can prove f/iat, however, at any 
time, and therefore does not require to be praised by 
the director of the theatre where she is engaged, and 
who, in accordance with directorial custom would 
praise her almost as much if she were only a vocal 
ist of ordinary merit, like so many others who, with- 
out deserving it, have been lauded to the skies. May 
we here be allowed to take the liberty of hazarding 
one small objection to the sti/le of the two operatic 
programmes just issued 1 Or rather without mak- 
ing any direct complaint, may we be permitted to 
venture to suggest that the sort of puff adopted by 
the proprietor of a place called " The Pavilion," is 
more attractive and more amusing (while it is, at the 
same time, couched in more elegant phraseology) 
than anything in the same line that has yet been hit 
upon by Mr. Mapleson or Mr. Gye ? In calling at- 
tention to the approaching termination of the engage- 
ment of " Miss Constance," the chief of the Pavil- 
ion quietly expresses a hope that, ere this engage- 
ment finally expire, " the opportunity (i.e., of hear- 
ing Miss Constance) may not be lost by those who 
have not yet participated in the delight occasioned 
by her sweet melodies." 

Now, what can be pretty if ihat isn't 1 We never 
heard Miss Constance, and probably never shall ; 
whereas we have often heard Mile. Titiens, and shall 
hear her again ,as often as possible. Bnt the plain 
neat little appeal — almost touching in its simplicity 
and innocence — with which Miss Constance has in- 
spired her director goes to the heart. The elaborate 
commendation of which Mile. Titiens is made the 
subject dazzles for a moment, and is then forgotten. 
One cannot help feeling a liking for Constance ; but, 
in spite of the managerial praise, we are still con- 
vinced that Mile. Titiens is the greatest singer. 



Gustave Dore. 



The genius that is expressed at the point of a pen- 
cil is not so readily or so universally recognized as 
that which finds expression in writing, But when it 
does make its mark and secure the recognition of the 
highest tribunals of taste, it takes rank with the most 
exalted literary genius. Great painters live forever 
in their works, just as great authors do. The eye 
and the intelligence are alike gratified. Designers 
for engravings, whose works are monochromes, are 
less fortunate than painters, inasmuch as the latter 
can often produce their best effects from variety of 
colors. 

Without citing instances from past history, as proof 
of the necessity for positive genius in order to exe- 
cute works which shall be great simply as drawings 
or engravings, we proceed at once to the considera- 
tion of the artist whose name is at the head of this 
article, and who is, indisputably, the greatest genius 
of this age, in his particular line of art. Paul-Gus- 
tave Dore' was born in Strasburg in January 1833, 
and came to Paris, to study at the Charlemagne 
Lyceum, in 1845. In 184S he began to make designs 
for the Journal pour Rire, and published various other 
things, mostly of a comic character. He also pro- 
duced a number of paintings, and several of his works 
in 18.5.'5-57, relating to the war in the Crimea, had a 
certain success. 

But it is as a designer for engravings that Dore 
has become distinguished, and the American public 
know him only through his illustrations of various 
hooks. His designs for an edition of Rabelais, pub- 
lished in 1854, first brought him to the notice of the 
admirers of the famous French humorist. The won- 
derful humor of Rabelais and the amazing extrava 
gances of Gargantua, Pantagruel and Hanugre have 
never been so felicitously represented. The designs 
express the very spirit of the author. The satire and 
wit receive new point from the illustrations. Dore"s 
genius fairly luxuriates in the rich fields of Rabelais. 
In the same year was published, apropos of the war 
with Russia, a burlesque History of Russia, with 
numerous illustrations by Dore, in which the very 
height of the extravagant and the grotesque was 
attained. In the year 1856 Dor^ found other conge- 
nial work in the illustration of Balzac's extraordinary 
Contes Drolatiques, the humor and tone of which 
were essentially Rabelaie. He also gave to the world 
in that year the remarkable illustrations of Le Juif 
Errant, which were his first great efforts at a line of 
art of a serious character. They were bold, even 
extravagant in conception, but they showed a degree 
of originality that was astonishing, and a maturity of 



ideas very rarely found in a youth of twenty-three. 
In 1857 appeared the Kssnt/s of ifoiitaiffne, fine]y 
illustrated by Dore, and a superb edition of Lcs Con- 
tes de Perrault, in which the illustrations ennoble the 
fairy tales ; the picturesque, the beautiful, the comic 
and the grotesque being charmingly blendid, to give 
dignity to the simple stories of the nursery. 

For a long time Dore has been eng.aged on a more 
ambitious work than any that he had previously 
undertaken — the illustration of Dante's Inferno. This 
was completed hast autumn, and we do not hesitate to 
say that it shows more genius than any work of the 
kind ever published. The form is folio, the paper is 
fine and strong, and the typography is equal to any- 
thing ever issued by a French publishing house. The 
designs, seventy-five in number, are engraved on 
wood, but with the fineness and delicacy of steel en- 
graving, and with an efi'ect that could not be excelled 
on any material. In these noble works there is no 
trace to be discovered of the comic genius that rev- 
elled in Caricature and absurdity. All is serious, 
stately and exalted. The awful sublimity of the 
poet's conceptions fills the soul of the artist. The 
designs tell the marvellous story as vividly as the 
verse. Dante illustrated by Dore becomes more 
intelligible. The work of the artist seems, indeed, 
to complete the poem. 

The frontispiece of the work is a portrait head of 
Dante, nearly of life-size. The face, wliilu bearing 
the characteristic lines and expression that arc so 
familiar in all the representations of the poet, is highly 
idealized. It has an exalted, earnest, rapt air that 
fully expresses the character of tlie author of the 
Divina 6'oniineclia. As each one of the illustrations 
is a fine study, it is difiicult to make selections for 
special notice. The earlier ones represent Dante 
wandering in the dark forest and his encounters with 
the panther, the lion and the slie-wolf. The scene 
with the lion is particularly fine. The meeting with 
"Virgil is illustrated by several exquisite scenes, and 
there is one lovely one, where the beatified spirit of 
Beatrice appears. The descent through the awful 
gate of Hell is well portrayed, and then we have a 
view of Charon, followed by another in which he 
appears driving the dammed into the boat. The first 
Circle of Hell is then reached, where lie the souls of 
the unbaptised. There is next an exquisite sylvan 
scene, in which the poets encounter the ancient bards 
Homer, Horace, Ovid and Lucan. In the next circle 
appears the monster Minos, condemning the sinners 
as they pass before him. Then there is a representa- 
tion of the whirlwind of condemned spirits — the bufe- 
ra infernal — out of which are summoned the shades 
of Francesea and Paul of Rimini. There are four 
magnificent plates relating to this episode. 

The horrors of Hell increase as the story is ad- 
vanced into the successive circles, and the artist, 
however awful his conceptions in the past, seems 
always to have a reserve of power to express the new 
horrors. Physical suft'eiing is portrayed in every 
conceivable way. The variety, as well as the power 
of the drawings, is amazing. The scenes in the 
Stygean Lake, in the 7th and 8th cantos, are especi- 
ally remarkable, and one is at a loss which most to 
admire, the exquisite scenic effects, or the pictures of 
torment involved in them. In the ninth canto there 
is a representation of the three Furies, in full flight, 
that is astonishing as a representation of motion. 
Several other views, in which flying figures appear, 
are equally vigorous representations of action and 
flight. The fiery tombs of the arch-hereties, and 
particularly that of Farinata, are as awful and 
sublime as was the conception of the poet. The 
encounter with the Minotaur, and that with the Cen- 
taurs, are illnstraled by several very vigorous designs. 
We are then brought to the abode ol^ the Harpies, 
and the views in this part, where the condemned are 
transformed into gnarled trees, whose contortions 
express hnman agony in a fearful way, are full of 
power. 

Language is soon exhausted in speaking of these 
wonderful illustrations, and we forbear further 
attempts to describe them. There is, however, a 
series of four, relating to the tragedy of Ugolino and 
his sons, that deserve especial mention. In the first 
Ugolifto is seen gnawing at the head of Ruggieri in 
the frozen gulf, while heads and figures in all expres- 
sions and attitudes of agony fill the surrounding ice. 
The prison-story, with IJgolino and his sons in succes- 
sive stages of starvation, is represented in three mar- 
vellous illustrations, any one of which would be worth 
framing and preserving separately. 

The last view relating to Hell is one in which, on 
the frozen surface of the lake of the ninth circle, rests 
an awful image of Lucifer. From this frightful scene 
we turn with relief to a view of the poets approach- 
ing the upper world, and the last illustration of all 
where they appear under the placid light of the stars, 
with a lovely moon sinking beneath the radiant 



BOSTON, SATURDAY, MAY 10, 18 6 2. 



45 



waters, is soothing and delicious, after so great a 
display of tlie terrific. 

This work is enough to immortalize Dore, and join 
his name and fame forever with that of Dante. — Phil. 
Eve. Bulletin. 



The Doctor of Alc.^ntaka. — The little comic 
opera which we have been expecting: for some months 
has been at length brought out at the Museum with 
unqualified success. Mr. Eichberg has produced a 
most sprightly, agreeable work ; particularly when 
we remember that it was written with special refer- 
ence to the limited musical abilities of the Museum 
company. The music is pleasing without being pre- 
tentious, and is marked throughout by a musician- 
like grace and freshness. In fact it is just the pre- 
cise thing for the object intended. The opening sere- 
nade, with the interjectional accompaniment of the 
three ladies, is very neatly arranged. 

The little duet of the basket carriers, of a few bars 
only, has a humorous piquancy which is decidedly 
original. The "Knight of Alcantara," very cleverly 
sung by Miss Mestayer, is really a capital song, well 
written, and with nice adaptation of the music to the 
words. The best piece of the work, however, is the 
quartet "Good night, Senor Balthazar." The serio- 
comic character of the music is admirably suited to 
the scene. The melody is, in itself, quaint and char- 
acteristic, and the orchestral accompaniment is 
wrought up with capit."il dramatic effect. The tenor 
music is, perhaps the least attractive, and the concert- 
ed music lacks effect mainly from the want of vocal 
power and compass on the part of the singers. The 
work does not please by any remarkable salient 
points, but from the general cleverness and pleasant- 
ness of the whole. The author has shown real abili- 
ty in so adapting his music to the company as to 
produce that which they can accomplish creditably 
and interestingly. We honestly confess to an agree- 
able surprise. Not that we did not know Mr. Eich- 
berg to be a thorough musician ; hut wo did not 
really suppose that he could take an English libretto 
and marry it to music so skilfully. The orchestral 
portion is very gracefully written throughout, a pleas- 
ant vein of the melody running through it constant- 
ly. We believe that tliis is the first American comie 
opera, and certainly the beginning is so agreeable 
that we hope it may be continued. 

The performance was quite spirited on the part of 
the ladies. We should not look for any special ex- 
cellence in the way of vocal acquirements from those 
who are not vocalists professedly. But the singing 
was prompt and correct, though the intonation suf- 
fered considerably. Mr. Hill's voice seemed to be 
worn, and he is scarcely sprightly and easy enough 
for a gallant, adventurous lover. Mr. Mestayer 
acted well, but his voice lacked sonority. Mr. Peaker 
has a fine, sonorous bass voice and bore off his short 
scene with good spirit. Altogether, in spite of the 
drawbacks, the performance was a very agreeable 
one, and Mr. Eichberg may congratulate himself on 
having produced a work which is in every way wor- 
thy of him as a musician. — Musical Times. 



ulul dTorr^spitbente. 



New Yokk Mat 3. — Wall Street and Irving 
Place are two grand political and social indices, and 
very sensitive are they to the least shock or revulsion. 
The little ticking of the magnetic wire, whispering 
a victory for our arms, will set forty thousand "bulls" 
and "bears" capering and kicking, advance "Govern- 
ment Sixes," and start the opera. An " official des- 
patch " of rather gloomy nature, will " decline " the 
paper, " depress " the market and jerk to the doors 
of the Academy with a portentous slam. Grau has 
been testing a little. Like an experienced aeronaut, 
he has safely fastened his cable to the ground and, 
after an observation of three nights of opera, he has 
concluded to come down, and is now safely laid aside 
waiting for " something to turn up." New Orleans 
may have caused him to prick up his ears a little, 
Fort Macon may have opened his eyes, but he is 
probably waiting the grand climax at Corinth, 
Memphis and Yorktown. Grau is sharp and no one 
is better adapted to successful campaigning than he. 
We have just had the opera in tantalizing tit-bits. 
Just enough to make us crave for more, "lligoletto," 
" Favorita " and " Fille du Eegimcnt," the debut of 
Tombesi a new tenor, and a possible rival of Brig- 



noli, theren^r^c of Ferri, and Kellogg as a dashing 
vivandiere with a rub-a-dub that would shame a drum- 
major ! Surely, is'nt this a charming bait t We 
wait the movements of McClellan and Grau with 
equal solicitude. Grau has gone to Washington with 
his whole troupe, including Francesco Araodio, bro- 
ther of the rotund Amodio, whose sad decease was so 
universally regretted. It is said his voice is almost 
equal to his brother's in quality and quantity. Miss 
Kellogg is the only prima donna upon whom Grau 
can rely. The husband of Mme. Baseggio informed 
him that his wife's illness would prevent her re ap" 
pearance on the stage. This is a great loss, as Mme. 
Susini has withdrawn temporarily from the troupe, 
and of course one soprano can hardly bear the fa 
tigue consequent upon a rapid production of operas 
These things will all be remedied before another 
season is announced. We shall have to bide our 
time. 

The Philharmonic Society closed the present seas- 
on on Saturday night. Irving Hall was crowded 
to excess. It always is on the occasion of the Phil- 
harmonic concerts, and always should be. The pro- 
gramme at the last concert w.is very good, if we can 
pardon the persistent omission of vocal music. This 
is one respect in which we New Yorkers are inferior 
to our Brooklyn neighbors. While the latter engage 
and present the best artists that can be found none 
but an occasional volunteer is ever announced in the 
New York concerts. The opening Symphony was 
Schubert's in C. There is in it but little of that 
captivating sweetness that characterizes so many of 
Schubert's works. The second movement, the ^Ih- 
dante ron molo, is a most delicious strain and its quiet 
beauty is douhly appreciated, sandwiched as it is, be- 
tween the commonplace themes and instrumentation 
of the other movements. [Our friend should hear it 
again. Ed.] A concerto of Mozart with Rich. 
Hoffman at the piano was a happy relief. Fertil 
imaginations could ti'ace through it some unique 
little melody of "Die Zauberflote," but it was none 
the less successful on that account. Hoffman played 
with bis usual grace and ease, and an encore won 
from him a modest little Sonata f?] short and sweet. 
The " Orph^e," Poeme Sijw.phonique, by Liszt is one 
of these sympathetic compositions with exquisite 
strains for wind instruments woven through it. 
Bruno Wollenhaupt played a Concerto Militaire by 
Lipinsky, and Lestch played a solo on the trombone 
by Felicien David. Theo. Eisfeld wielded the baton 
at this agreeable concert, which, to the regret of 
many, was the last of the season. 

Mason and Thomas gave their last concert on 
Tuesday evening at Dodworth's Hall with the fol- 
lowing programme : — 1. Quartet, in G minor, Mo- 
zart, No. 1, for piano, violin, viola and 'cello — 
Mason, Thomas, Matzka and Bergner. 2. Quintet 
in C major, Schubert, for two violins, viola and two 
violoncellos — Thomas, Mosenthal, Matzka, Bergner 
and Luhde. 3. Quintet in E flat major, Schumann, 
op. 44, for piano, first and second violin, viola and 
'cello. Mason, Thomas, Mosenthal, Matzka and 
Bergner. 

Gottschalk gave two concerts, one on Wednesdaj' 
and one on Friday evening at Niblo's. He was as- 
sisted by Carlotta Patti, Tombesi, Ferri, Mollenhauer, 
Sanderson, and Muzio as musical director and con- 
ductor. He advertised a Sonata (for piano and 
'cello) in B flat by Mendelssohn, hut played a duet 
for those instruments composed by himself. Patti 
sang superbly, a polka " L' Amour," composed for 
her by Muzio, and with Tombesi, the duetto in the 
Ballo. Gottschalk played " Lucrezia," and " Trova- 
tore" fantasias, and a number of his latest and finest 
works. 

J. M. V. Busch announced a performance of his 
"Stabat Mater" about a week since, but he was un- 
able to raise the requisite funds to pay his orchestra 
in advance and so the affair failed. Miss Clara M. 



Brinkerhoff was to have taken the soprano part and 
Mr. Durant the tenor. 

The fifth and last concert of the Brooklyn Phil- 
harmonic takes place to-night. The soloists will be 
Tombesi, the new tenor, and Master Willie Barnes- 
more Pape, the youthful pianist, whose performance 
at Madame Anna Bishop's parlor concerts was so 
eminently successful. He is but ten or eleven years 
of age and plays Thalherg's and Gottschalk's most 
difficult pieces with an ease and precision that is 
wonderful. 

Theo. Thomas announces a monster concert on 
the 14th, at Irving Hall. Among other novelties he 
will present the whole of the music for his brother's 
tragedy of " Slruens€e :" AVagner's descriptive Over- 
ture, " Der Fliegende Hollander," and Moscheles' 
piano-forte composition, " Les Contrastes." Mme. 
de Lussan is the principal lady vocalist engaged. — 
Thomas has secured the services of quite a number 
of first-class artists and also the Philharmonic So- 
ciety. 

Geo. F. Bristow had a complimentary concert 
given him on Wednesday evening last by his pupils, 
at the Cooper Institute. It was largely attended 
and gave evidence of the rapid advancement made — 
especially in chorus singing — by Mr. Bristow's 
pupils. 

Miss Caroline Richings has been creating quite a 
furore in the " operatic drama," the Enchantress. — 
She sings very nicely indeed and her acting is very 
attractive. The Pirate's Chorus, " Ever be happy," 
is sharing equal favor with " Glory Hallelujah ;" 
street whistlers are in ccstacies, and the result is that 
the Enchantress is popular. 

Trusting that this rough medley of occurrences, 
strung rudely together without any adornments or 
polish, will be acceptable, I am yours truly, 

T. W. M. 

Cincinnati, April 28. — Last week we had the 
long promised German Opera by our musical Socie- 
ty, the " Maennerchor," which embraces a mixed 
chorus as well as a male chorus. The "Freischiitz," 
by Weber, has been performed four times and " A 
night in Grenada," by Kreutzer, twice, always to 
large audiences of 1000 to 1500 persons in the spa- 
cious and elegant opera house. Mad. Schroeder- 
Dummler, from New York, was the prima donna ; 
all the other parts were filled by amateurs, members 
of the Society. The chorus was very good, and 
rather the main feature of the whole. It consisted 
of about fifty members, who, on the fine large stage, 
with its tasteful scenery, appeared very pretty in 
their handsome costumes. They made a very strik- 
ing contrast to the common little band of indifferent 
and oddly looking choristers of the regular opera 
companies. In this instance the gay hunters and 
bridal girls and the lively country people moved as 
easily and naturally, as in real life, and while giving 
pleasure to others, seemed to enjoy themselves huge- 
ly- 
Very great praise is due to their most efficient 
leader, Mr. Carl Barns, to whose persistent and inde- 
fatigable labor we principally owe these operatic 
performances. They have been preparing all winter, 
and a great deal of time has been spent in rehearsing, 
but the time has been well spent, as we have seen 
such handsome results. 

The prima donna. Mad. Schroedcr-Dnmmlcr, has 
not pleased very much, and it has been rather a mat- 
ter of surprise, that she has been praised so highly 
in New York papers. She is, no doubt, a cultivated 
and accomplished singer ; her voice, although not 
powerful, is pleasant, and she appears and acts well 
enough ; but she has the unfortunate habit of drag- 
ging the time, and thereby her performances, — with 
very few exceptions, such ns the prayer in the 
" Freischiitz," which was finely rendered, — suffer so 
much, that they are tame and weary the listener. 



46 



DWIGHT'S JOURNAL OF MUSIC. 



Also her voice lacks in timbre, and it may be partly 
owlnp; to this, that Iier dramatic expressions, which 
also are true and good and free from those miserable 
exaggerations, so much in rogue now-a-days, are 
riot piquant enough. In this respect Mad. Johann.sen, 
the prima donna of last year, is much her superior. 

To criticize as sharply the other performers, who 
were all amateurs, some of whom have fine voices, a 
correct musical ear and show dramatical talent, 
would neither be fair, nor of general interest. 

In these operatic performances the common order 
has been rather reversed ; the choruses and finales 
were of more importance, than the solos, and the 
orchestra was so well drilled, as to claim a fair 
share of attention. It is principally owing (o this 
tliat the operas have been really enjoyable and made 
one wish for more performances of the kind. X. 



Jbigljfs Iffiu'iral of Slnsk. 



BOSTON, MAY lO, 1869. 

Music in this Number. — Continuation of Chopin's 
Mazurkas. 



Concerts. 

The "First Walpurgis Night." — The 
success of Mr. Lang's undertaking, last Satur- 
day evening, was cotnple.tc. The Music Hall 
appeared filled, and with such an audience as 
only the expectation of something really fresh 
and good could have called out — those who re- 
spond only to the best appeals. Mendelssohn's 
delightful music, so full of fresh and vivid fancy, 
so well conceived in its connection with Goethe's 
poena, so true to nature in its spring-like opening, 
so equal to its high religious themes, so full of 
Cjuaint surprises and so graphic in the more fan- 
tastic parts, was thoroughly enjoyed from first to 
last. And, what was the best evidence of the sin- 
cerity of the interest shown in it, it was quite as 
attentively and generally listened to, and still 
more enjoyed, upon the repetition. The second 
performance naturally was the best, the singers 
having become more at home in it. The solo 
singers, especially, improved upon their first trial 
of their voices in the large hall and in a position 
rather new to several of them. The chorus of 
150 voices, all young, fresh, telling, (with no 
dummies), and finely balanced, sounded remark- 
ably well throughout, and was always up to the 
mark. We have seldom heard so fine a body of 
soprani and contralti in any of our Oratorio or 
choral performances. It shows that counting up 
voices by hundreds is not of much use unless they 
are effective; 150 effective ones are more to the 
purpose than twice their number as we some- 
times hear them. The orchestra did its work 
well in the exceedingly ingenious, descriptive, 
difficult accompaniments ; and Mr. Lang himself, 
the youthful conductor, appeared very well at 
ease and master of his position, new to him as 
the position was. There was unity of design, 
rightly conceived, and carried through with 
energy, in this somewhat bold enterprise of his ; 
and the result was in the highest degree credita- 
ble to him. 

But let us take things in their order. We have 
already given a brief synopsis, with the words of 
the Cantata, so that we need not repeat^them 
now. 

First the Overture, describing the incoming of 
Spring, and preparing the way, spreading around 
the atmosphere as it were for the opening Sprinir 



Chorus, seemed to take pos.session of all minds 
as it was intended. The first half, Allegro con 
fuoco, suggesting stormy weather, the wintry 
background, was perhaps not so fully appreciated, 
as the transition to Spring, Allegro vivace — a 
more lifesome, but not so swift an Allegro as the 
first ; this is so full of fresh, warm, delicate 
Spring airs, so redolent of " bud and bloom," so 
sweet with promise, that it could not fail to steal 
the listener's soul away, as an ideal May day 
should. The Druid solo (tenor) was tastefully 
sung, with a voice of purity and sweetness, by 
Mr. Langmaid, but with hardly power enough ; 
it was much more effective in the second per- 
formance. Then the chorus, taking up the same 
words : "Now May again breaks Winter's chain," 
&c., sung first in two parts, soprano and contral- 
to, sounded deliciously fresh and spring-like ; it 
resembles one or two of Mendelssohn's part- 
songs on the same subject ; the male voices come 
in at the exhortation : " Begin the ancient holy 
rite," and the simple strain grows to full, complex 
harmony, reaching a splendid climax. Compare 
all this with Haydn, in the " Creation" and the 
"Seasons": — it is certainly very difl^erent music, 
quite as true to nature, and with a deeper poetry 
in it. 

Mrs. Kempton" suffered from hoarseness, so 
that her rich voice was not quite itself in the 
warning solo of "An aged woman of the people:" 
" Know je not a deed so daring dooms us all to 
die despairing ?" But her good dramatic decla- 
mation triumphed somewhat over this infirmity. 

Mr. AVetherbee delivered the majestic 
solos of the Druid Priest :n artistic, dignified, 
firm style, making the most of his evenly devel- 
oped, although somewhat dry bass voice. The 
music which falls to his share, with that of the 
chorus responding and re-affirming, is of truly 
noble quality, and did not sufi'er much in the ex- 
ecution. 

The very graphic chorus of Druid guards set- 
ting the watch : " Disperse, disperse, ye gallant 
men," well as it was done otherwise, did suffer 
from being given with that uniform loudness, 
which was too characteristic of the whole ren- 
dering of the Cantata. Sung pianissimo, as the 
words suggest, it would have been thrice as ef- 
fective ; it seems designed to be almost a whis- 
pered chorus. — The Druid guard, who suggests 
the plan of frightening the Christians away by 
dressing up as demons, found " large utterance" 
indeed in the grandly voluminous bass of Mr. 
Kyder. But certain peculiarities of pronuncia- 
tion marred the dignity of the thing considera- 
bly; as: "We v/\\\ skee-are the bee-gol rahhle ." 
This gentleman surely has capacities for a grand 
basso profondo. 

The most successful piece in the rendering, as 
well as the most original and wildly effective in 
the music, was the chorus in which the scheme is 
put in execution : 

Come with torches brightly flashing 

Rush along with hillets clashing ; 
Thro' the night gloom, lead and follow. 
In and out each rocky hollow. 

Owls and ravens, 
Howl with UH and scare the cravens ! 

How much lies in the apt selection of the word 
sung sometimes ! How splendidly that word 
" flashing" sounds in such a place, and really 
flashes out the image by its sound ! While on 
the other hand, how meanly and out of keeping 
with the music the word "rabble" sounded in the 
preceding solo I Orchestra and chorus did their 



best here, and, considering the great difficulties 
of the piece, made it very effective and exciting. 

Having thus scared away their persecutors, the 
Druids go on with their solemn rites. Twice we 
hear them, our attention being diverted for a 
while from the grand religious .strain of the high 
priest and people, to the cries of a frightened 
Christian Guard, (Mr. Wadleigh, tenor, sang it 
as if too truly frightened), and the chorus of his 
comrades, possessed with fear of witches, imps 
and devils. Fortunate that (liit should be the 
weakest part of the performance. After the 
interruption, we hear the solemn sound of Druid 
worship going on again ; the final priest solo and 
chorus being in fact but a resumption of the strain 
we heard before. The conclusion is solemn and 
grand, and perhaps the composer did wisely to 
keep it in the uniformly free style of the whole 
composition ; but one almost wonders that he 
resisted the temptation of such noble words to 
work up this finale, with all the power of fugue 
and counterpoint, in oratorio style. He chose 
however to write a romantic composition, as the 
poem required, and not an Oratorio. His object 
is to let us see the Druids at their worship, not to 
work lis up into it, and carry our rapt souls 
away on wings of Fugue, as is the aim always wi h 
an Oratorio. And so we find the answer to the 
question which we raised last week, after hearing 
the first rehearsal, and own that this closing 
chorus is not the least impressive portion of the 
work. 

The novel experiment of repeating the " Wa'- 
purgis Night " at the end of the~ concert, as we 
have said, worked admirably. No one. who was 
not doubly interested in it on this second hearing. 
Riper audience, as well as riper rendering, was 
secured by it. Between the two performances 
some alternation was afforded by two pieces. 
First, a Duo for two piano fortes, Thalberg's fan- 
tasia on Norma themes, showed very brilliant and 
nice execution on the part of Miss Mary Fay 
and Mr. Lang. The young lady has a remark- 
able touch, and such a hand as few pianists for 
her instrument. But the piece was trivial, much 
of it consisting of mere scales, and not worth the 
bringing together of two grand pianos to produce 
it. Secondly, the " Midsummer Night's Dream 
Overture " was nicely rendered on the whole 
but we must question the sense of the unusually 
long pauses which Mr. Lang made between the 
aerial chords which open and close the overture. 
His conductorship, however, was remarkable for 
a beginning. Practice will bring more self-pos- 
session, and more liberty to pay regard to light 
and shade. Everybody came away thanking Mr. 
Lang, for a rich evening and a fresh experience. 

Orpheus Musical Society. — The Farewell 
Concert given by this long united " Liederkranz" to 
their comrade Mr. Jansen, after several postpone- 
ments, took place on Wednesday evening at the 
Melodeon. Mr. Kreissmann, having happily re- 
covered, was at his post as the Conductor. The au- 
dience was large and responsive to the music. The 
programme, as printed, was as follows : 

Part I. 

1. Chorus: "Vineta" Aht 

2. Aria : "Die Entfuehrung ans dem Serail" Mozart 

R. Jansen. 

3. Chorus and Solo : "Schlaft in Ruh," Moering. 

4. Piano-Solo: Andante and Blenwetto from op. 78. 

F. Schubsrt 
Hugo Leonhard. 

5. Chorus: "Auf dem Rhein" Kuecken 

6. Song: "Der Wanderer" Schuhert 

R. Langerfeldt. 
7 Chorus: "Italienischer Salat," (MusicalJest). . .Genee 



BOSTON, SATURDAY, MAY 10, 186 2. 



47 



Part n. 

1. Chorus: '"Die Jungeu Musikanten" Kuecken 

2. Violin solo, Roudo Papageno Ernst 

William Schultze. 

3. Song: "Der Brl-Konig" Schubert 

A Kreijisniann. 
4. Gesan!5derGeisteraber deuVVassern. EiGfllfc-part Cborua 
with string accompaniment (words by Goethe). Schubert 

6. Song: ''Im Traum sab ich die Geliebte" Gumbert 

Carl Scbraubstiidter. 
6. Deutschnationalpatriotisches Quoilibet Kunze 

Greiit was the tlisappointmont, howevei-, at the 
omission of the most important item, the eight-part 
chorus by Schnhert; this was necessitated bj' the 
eneaijement elsewhere on that evening- of the pla3'ers 
of violins, violas and basses required for accomjiani- 
ment. The chasm was but poorly filled by dropping 
into it a " trifle light as air," a waltz, which a portion 
of the Club sin;/ with a certain gusto. This only 
added to the triviality of the second part, already 
mostly either trivial or sentimental in the selections 
composing it. The first part was by far the most 
satisfying. The chorus "Vineta," embodying the 
tradition of a ruined city beneath a lake, the bells 
whereof may be heard ringing from below the water, 
has a rich, dreamy, tranquil breadth of harwony, and 
was beautifully rendered, the voices Iilending finely. 
(But throughout the evening the hall did not seem to 
favor the resonance of eitlier voice or instrument). — 
" Schlaft in Ruh" (sleep in peace) is a charming 
serenade, in which the baritone solo was sung by Mr. 
ScHRAUBSTABDTER with great unction ; it had to be 
repeated. Kiicken's "Rhine" chorus, has a careless 
jovial tramp as of travelling students, who pause on 
the way to give a serenade, the music growing senti- 
mental at the mention of Madchen, in which tenor 
(Kreissmann) and itarirone figure in solo and duet, 
and then on they tramp again, with tossing up of hats 
and ringing lauffhtcr. We like >t better than the ''Jiin- 
gen Musihanten" in the second part. Mr. Jansen's 
humorous bass Aria, truly Mozartish, was sung with 
fine style and spirit ; and Mr. Langerfeldt was suc- 
cessful with "The Wanderer ;" but both this and the 
"Erl King," so beautifully sung by Mr. Kreissmann, 
capital songs as they are, have grown somewhat too 
familiar to strike with all their original force at all 
times. Mr. Sehraubstadter's song, a weak one in 
itself, was sung with singularly fine expression, and 
musical, warm quality of tone. 

Mr. Leonuaed played the Ballade by Chopin, in- 
stead of the piece set down, and played it in a very 
genial and artistic style, as he did all the accompani- 
ments. Mr. ScHnLTZE's " Papageno " solo was 
popular and pretty — no more — but very neatly exe- 
cuted. Of the two " Quodlibet" pieces, or bur- 
lesques on the Italian opera, the first, or " Italian 
Salad," was much the happiest ; the ingredients as 
to words being such terms as forte, fortissimo, a 
piacere,morendo, and so on, mixed up with la vendetta, 
rahbia, fehcila, and the like ; while the music was 
composed of imitations of, not borrowed from, the 
commonplaces of Italian Opera. The second one 
had lost its interest for us with one hearing : — in- 
genious, bat somewhat too coarse and childish. 

On the whole, the concert gave a great deal of 
pleasure ; but we shall all be sorry to miss Mr. 
Jansen in those which may come hereafter. How 
much his brothers of the " Orpheus " will miss him, 
they have shown us by this musical "Farewell." 



Schubert's Symphony in C. — Our New 
York correspondent, in the letter which we print 
to-day, dismisses this great work so summarily, 
after a single hearing,(the admiration of Mendels 
sohn and SchumaDn, and all the foremost musical 
minds of Germany, to the contrary), that we are 
tempted to recall here part of the record of our 
own first impression of it some ten years ago. 

" The success attending the bold experiment by Mr 
Suck's little orchestra, of producing this very long. 



very difficult, very novel, complex aud profound 
composition, for the first time in Boston, may be 
counted among the good signs of the times. 

" Some, no doubt, even of our most thoroughly 
baptized classical music-lovers, missed the clear, con- 
cise, well rounded and at once intelligible form of 
those perfect models of stj'le, the symphonies of 
Haydn and Mozart. To such this gigantic effort of 
Schubert naturally seemed over-labored, forced, am- 
bitious. Such too was the first impression of a sym- 
phony of Beethoven upon minds of tlic same class 
and culture ; yet he has slowly won his way into their 
hearts. Schubert belongs to the new era, which 
Beethoven opened. Both were mighty geniuses, 
creative minds, true spirits of this age, and it was not 
possible for them, like lesser minds, to imitate and 
simply continue the ways of Haydn and Mozart, 
however admirable. We shall not be so rash as to 
pronounce upon a great symphony, after a single 
hearing. But we can truly say that it impressed us 
deeply. It was most exciting music, — exciting to 
the end, although it was almost an hour in length. 
The multitude of exquisite themes, strikingly con- 
trasted, beautifully distributed among the different 
instruments ; the depth of sentiment, often impas- 
sioned ; the gigantic vigor with which every thought 
seemed carried out ; the utter absence of anything 
in the least degree commonplace or hacknied ; and 
the evident fervor into which it kindled the musicians 
themselves, — were strong assurances, in addition to 
our own intense interest ami emotion, that this was 
really great and uncommon music, — that there was a 
great deal /n it, whether it were all clear or not. Cer- 
tainly no listener, at all sympathetic, could fail to rec- 
ognize the genuine heavings and aspirings of a large 
and earnest soul in those strange, — beautifully 
strange, harmonies. 

We liked the first movement best, perhaps only 
because we came to it fresher and understood it more. 
The slow introduction, the all-pervading theme of 
which, a solemn and religious canto fermo strain, is 
first intoned, as it were, by an unaccompanied French 
horn, is of the most grand and impressive character, 
and the Allegro full of fire and dignity. The second 
movement (Andante con nwto) is the only piece of 
music we have ever heard that seemed to us in some 
sense analogous to the mysterious second movement 
in Beethoven's seventh symphony. This was very 
long, as were the Scherzo and the Finale, though 
both rioting in a splendid originality and liberty of 
fancy. These are only first impressions and very 
vague and general, of course." 



(iSS 



mm\ |iitel%ente. 



Worcester, Mass. — The Mendelssohn Quintette 
Club gave the last of their series of concerts, at 
Brinley Hall on Tuesday evenmg, 28th ult. Every 
seat was taken, and the concert was in all respects 
successful. The programme was good ; better than 
we have had before this season. Most of the selections 
have been given here before, but they were such as 
bear frequent repetition. The Club brought with 
them additional performers ; adding to their strings, 
horn, bassoon, and contra-bass, a pleasing combina- 
tion of instruments, especially in such master hands. 
The concert opened with Flotow's Overture to Stra- 
della, given with broad orchestral eflTect which would 
have been lost in a larger hall than " old Brinley." 
Pleyel's Hymn with variations followed, recalling 
some of the Club's earlier concerts. Next came the 
beautiful andante and variations from the Beethoven 
Septet, op. 20, with its calm and placid opening, 
upon which soon enters the first violin with its me- 
lodious call answered by the other instruments 
which follow itjWeaving a wreath of musical beauties; 
the horn then taking up the theme, all joining finally 
in a grand union of harmony. Then followed a 



flute fantasia on airs from Macbeth, in which Goer- 
ing's flute spoke unutterable things, as dainty and 
delicate as the flutter of fairy wings ; next, a 
solo for horn. The Dream, played with skill and taste 
by August Hamann ; then two very acceptable selec- 
tions from Mendelssohn — the exquisite canzonetta 
from the quartet in E flat, op. 12, in light, tripping 
measure — a midnight, elfin dance, pervaded with a 
fragrance delicate as that of spring-flowers ; and the 
familiar Song without Woi-ds, No. 4, Fifth Book. The 
leading performance of the evening c'lme last upon 
the programme — Schubert's Octet in F. The 
opening of the work is rather the promise than the 
realization of excellence ; but if it wearies the listener 
a little, he forgets it ivhen the larghitto opens with 
that beautiful, self-sustaining melody on the clarinet, 
with its richly-toned ground-work of accompaniment, 
the horn at times taking up the theme. The solemn, 
stately larghetto changes to the scherzo with its quaint 
fancies ; this, in time, giving place to the deep, wild 
earnestness of the andante, ending at Last in a bril- 
liant a?fe9ro, a triumphal close to a work full of the 
romantic genius of Franz Schubert, who composed 
for the love of music, and of whom the inscription 
upon his monument says with truth, " The art of 
music buried here a rich possession, but yet fairer 
hopes." — Palladium. 

Philadelphia. — There was a fashionable assem 
bhige last evening, at the Musical Fund Hall, when 
a com]ilimentary concert was given bv the pnpils of 
Signor Perelli to their instructor. The concert was 
conducted on the plan of the French Benevolent 
Society's ('oncert, the performers being screened 
from tlie audience by a gauze curtain. The singing 
was very good, in some cases quite worthy of profes- 
sional artists. The duettos from Norma, Favorita, 
Rigoletto, The Crown Diamonds, &c., gave great satis- 
faction. The cavatina from La Sonnambula, " Come 
per me Isereno," was 'artistically sung by a favorite 
Sopnano. The young lady evidently possesses musi- 
cal talents of the first order — reminding us of little 
Patti, particularly her Staccato notes. The perform- 
ance received the approbation it deserved. The 
same lady rendered es.sential service in duettos. The 
concerted pieces of the programme were well adapted 
to the style .and voices of the singers. 

" Kathleen Mavourneen " was charmingly snng 
hya distinguished Contralto, and was rapturously 
encored,' as also a Swiss ballad by another lady. 
The duetto from II Barbiere, " Dunque lo son," was 
particularly fine, and was received with a storm of 
applause. — Everting Bulletin. 

Mr. Bigfeld's Concert, given last evening at 
the Musical Fund Hall, drew together a large audi- 
ence, in spite of the rain. The performance was ex- 
cellent. Bigfeld's Brigade band played several 
pieces very well, but the brass instruments are too 
loud for the hall, and the return to the wood and 
striniied instruments was grateful. This concert in- 
troduced to us Mr. Theodore Eisfeld. the distinguish- 
ed conductor of the New York Philharmonic Socie- 
ty's Concerts, and after last night's experience, we 
are not surprisedjthat he should have won so high a 
reputation. The Overture to Enrijatdhe and tlie ex- 
quisite Allegretto Scherzando movement of Beet- 
hoven's 8th Symphony were splendidly played, the 
latter receiving a hearty encore. A Polacca, written 
by Mr. Eisfeld, shows that he has genius for compo- 
sition as well as for direction, and it, too, was warm- 
ly applauded. A curious and interesting piece for 
two pianos (eight hands) by Moscheles in four move- 
ments, illustrating four distinct styles, was well play- 
ed by Messrs. Wolfsohn, Charles Jarvis, Michael 
Cross and Kammerer. Madame Johannsen sang 
the Bolero from the Sicilian Vespers and a quaint 
cuckoo song by Satter, very acceptably, being encor- 
ed in each. "The most astonishing performance of 
the evening was Mr. Koppitz's flute playing. Be- 
sides doing all that other performers can do on the 
flute, he has a way of playing duets that is marvel- 
lous, and he does other things that arc quite inde- 
scribable. The Mannerchor assisted with their voices 
in the opening march, .i spirited composition by Mr. 
Birgfeld. They also sang "The Warrior's Night 
Song," by.Blum, with fine effect. — lb. J/ay 6. 



48 



DWIGHT'S JOURNAL OF MUSIC 



WBU l^h'oaK 



Vienna. — The Musik Zeitung speaks warmly of 
the annual concert (April 13) of Julius Epstein, one 
of the most classical and genial pianists. " His pro- 
gramme contained almost too much of good and 
beautiful. The first number, a MS. piano-forte Con- 
certo, with orchestra, composed by his very young 
pupil, Ignaz Briill" [we remember well the handsome 
boy, with face full ot genius, like a young MozartJ 
" confirmed the good opinion, which we had already 
gained in several occasions, of his talent. The mo- 
tives are altogether noble and fitted for symphonic 
treatment ; the treatment, too, in many respects really 
interesting. In build and plan, however, there is 
much vagueness, and the youthful composer has yet 
serious studies to make before he will acquire the 
plastic mastery of form. May he not be fondled into 
vanity ! — Herr Epstein played, with Erau Amalie 
Rawack-Mauthner, Mozart's Sonata in D for two 
pianos. The lady's playing is sound, facile and 
graceful ; the playing together of the two artists was 
superb, and Mozart's piece had full effect, except 
that the tempi of the first and last Allegros were a 
little too fast. The Largo from Beethoven's first 
Concerto, finely as Epstein played it, had better have 
been omitted ; for we hold it unartistic to tear Beef 
hoven's compositions into fragments. With Bach's 
Concerto in D major for piano, violin, flute and 
stringed Quartet, which Epstein had played once 
before this season, lie again carried the whole audi- 
ence away in enthusiastic applause (especially the 
first movement with the splendid cadence). Erau 
Peschka s.ang songs by Schubert and Schumann with 
her peculiar correctness and grace. 

The Society of Friends of Music gave their second 
social evening April loth. The programme con- 
tained two overtures : Spohr's to the " Mountain 
Spirit," and Beethoven's to " Eidelio " ; one of the 
smaller and less known Symphonies of Mozart (D 
major 4-4) ; " The division of the earth " by Haydn 
(very powerfully and effectively delivered by Herr 
Mayerhofer) ; and " a piano Concerto by Mendels- 
sohn in D minor, a very lovely and fresh composi- 
tion, which (the Zeitung saj's) we do not remember 
ever to have heard in public " (!). 

A music festival for the erection of a statue of 
Beethoven at Heiligenstadt, the master's favorite 
residence, was to be given by the society of , artists 
called the " Green Isle " (is there an Ireland in Vi- 
enna ?). 

The Mannergesang-Verein has renounced the 
project af visiting London during the Great Exhibl. 
tion. 

Halle. — The Singakademic, under the direction 
of Robert Franz, have given a successful performance 
of Handel's " Israel in Egypt." The same society 
has devoted itself with especial interest to the music 
of Sebastian Bach ; having sung thus far not less 
than 21 of his Cantatas. 

Berlin. — While the Royal Orchestra in its Sym- 
phony Concerts, and Liebig, in his popular cafe 
concerts, are constantly performing the great classical 
masters, Robert Radeeke is bringing out new works. 
At his third concert he gave an overture to Schiller's 
" Tell," by Schlottman, a composer who resides in 
Berlin — an orchestral piece from the " Romeo and 
Juliet " of Berlioz ; a Hymn for Alto and chorus : 
" Song of Heloise," by Ferd. Hiller ; an Ave Maria, 
and " Song from Fingal," by Brahms ; and Fraulein 
Marie Wieck played Chopin's F minor Concerto, 
and Beethoven's Fantasia with orchestra and chorus' 
meeting with a warm reception. 

Mile. Artot has been creating the same sensation 
at the Royal Opera House, that she has for a couple 
of years past at the Victoria Theatre. The whole 



court have been constant in their attendance ; and the 
queen has desired her to sing in the four concerts 
given at the palace under Meyerbeer's direction. — A 
new opera, " Acta;a, or the Maid of Corinth," com 
posed by A. Bott, has been brought out at the Royal 
Opera. It is said to be a work of real talent. — The 
Italian troupe at KroU's theatre, under tlie manage- 
ment of Sig. Grasigna, have given Linda di Clia- 
moujiix. 

Graun's oratorio, " The Death of Jesus," was 
given at the Garrison church during Passion Week. 

Mdnich. — The third and fourth subscription con- 
certs of the Musical Academy gave Beethoven's 
Eroica ; an air from Jessonda ; Prelude and Fugue 
by Bach, instrumented ; Terzet from " William 
Tell"; Overture to Goethe's Z/jSiV/enin in Taur's, hy 
B. Scholz; Suite for orchestra in D minor, by Lach- 
ner : aria from Handel's Semele ; Introduction to 
third act of Cherubini's Medea ; Fest-overture by 
Beethoven, op. 124. 

Herr Mortier de Fontaine has given the first two of 
a series of concerts. The pieces have been : Trio, 
by Emanuel Bach ,■ Sonata, piano and violin, in A, 
by Fiorillo ; Beethoven's 'cello Sonata, op. 69 ; Schu- 
mann's Trio in D minor ; J. S. Bach's Violin Sonata 
'n A major ; Trio hy Haydn, in D; Sonata by. F. 
Schubert, in D minor ; and Beethoven's great B fiat 
Trio. The wife of the concert-giver sang songs by 
Schubert, Schumann and Reichardt. 

Heidelbeeg. — The Society for Instrumental 
Music has performed during the past season : Schu- 
mann's B flat and Beethoven's Choral Symphony, 
and Handel's " Alexander's Feast." Herr Boch, 
director. 

Mayence. — The " Liedertafel," under Riihl's 
direction, gave at their last concert Beethoven's 7th 
Symphony, and a Mass in C by Cherubini. 

Dresden. — ^Richard Wagner has leave to return 
with impunity to Saxony. 

London. 

From the full and regular reports of the Musiea, 
World we take the following. 

RoTAL Italiah Opera. — Gtiiltaume Tell was 
given for the third time on Saturday. In the second 
act, M. 2e!ger, taken suddenly ill, was led off the 
stage by Sig. Tamberlik, and the trio for Arnold, 
Tell and Walter was ommitted in consequence, one 
of the chorus taking place of M. Zelger in the grand 
finale. 

The performance of II Trovatm-e on Tuesday 
attracted an audience at onee curious and interested, 
there being two first appearances. Mile. Gordosa as 
Leonora and Mr. Santley as the Count di Luna. 
The lady, notwithstanding her name, is an English- 
woman, by name Botibol. She was a pupil of the 
Royal Academy of Music, and went to Italy to finish 
her education, where, we believe, she obtained some 
stage experience, baviug performed in some of the 
minor theatres. She is still young, and must not be 
judged by a first essay before such an audience as 
that of the Royal Italian Opera — enough indeed to 
to dash the courage of veteran artists. Mile. Gor- 
dosa has a " soprano " voice of legitimate compass, 
with good notes in the middle, and the upper notes 
somewhat worn, and we doubt not that it may at one 
period have boasted an " agreealile quality." Her 
timidity was extreme however, and we are thus 
debarred from forming a decided opipion as to her 
capabilities. Mr. Santley, on the other hand, made 
an unmistakeable " hit," as indeed had been gener- 
ally anticipated. His reception was uproarious, so 
much so, that it seemed wholly to unnerve him. 

Of Signer Tamberlik's Manrico nothing more 
need be said than that it was as powerful and impres- 
sive as ever ; unless it be, indeed, that he gave the 
graceful cantilena, " Ah si ben raai " with more than 
ordinary sentiment, and that the cabaletta " Di quolla 
pira," by the unanticipated introduction of a magnifi- 
cent ut depoitrine is quite a new place, electrified the 
audience, who applauded and recalled him with en- 
thusiasm. Mad. Nantier-Didie'e (her first appearance 
this year) was Azucena; Sig, Tagliafico, Ferrando. 



DESCRIPTIVE LIST OF THE 
PubliHliecl br Oliver Ditaon & Co. 



Vocal, with Piano Accompaniment. 
I mourn thine absence. Ballad. George Linley 25 

A charming soug by this favorite author. 
Gentle ray of sunlight. Song. W. T. Wrighton 25 

Every one recollects the sweet song iutroduced to 
the American public by Miss Adelaide Phillips entitled 
" The dearest spot on earth to me is home." Here ia 
another song by the same composer, and as far as the 
music is concerned, quite as good. 

By a flowery path, (Par un cherain fieuri). 

Concone 30 

Another of those agreeable arrangements for three 
female voices, which under the general title of " Har- 
moniennes," have been so much sought for in Young 
Ladies' Schools. Having French as well as English 
words, their value is much enhanced. Their introduc- 
tion in Conveuts has been quite general. 

Canticles. " Have mercy upon me Lord." 
" Lord my heart is ready.'* 

Mrs. Louise A. Denton 35 

A, composition of decided merit, and deserves the 
attention of every lover of a high order of sacred song. 
The author is. we are informed, an accomplished sing- 
er, and teacher of the Piano and Voice in Buffalo, 
where her husband is also favorably known as the 
organist of Trinity Church. 

Instrumental Music. 



Prairie flower schottisch. 
Foxglove March. 
Somervillo Polka. 



G. R. Lampard 25 

Ck. Grebe 25 

J. W. Uhoades 25 



Pleasant compositions, easily arranged. 
Livinia Waltz. PP. Wiik€:rs, Jr 25 

Emma Waltz. " " 25 

Two uncommonly agreeable waltzes by a young 
composer whose name is seen too seldom. 



II Balen. Trovatore. 



A, Baumhach 35 



A transcription for Piano of this best of Baritore 
songs. To those familiar with the'graceful and spark- 
ling arrangements of Mr. Baumbach, it is unnecessary 
to speak. If there are any so unfortunate as not to be 
acquainted with his works, we advise them to procure 
at once some numbers of the *' Crown Jewels " — cer- 
tainly his crowning work. 

Books. 

Arion : a collection of four-part songs for male 
voices, in separate vocal parts, with score. 5 
Vols, bound in cloth. $3,00 

The want of a good collection of four part songs for 
men's voices has long been felt, and has been amply 
supplied in this work. Many of the finest gems that have 
hitherto remained exhausted, and therefore known 
only to the German societies, are now produced for 
the benefit of the many quartette clubs that exist in 
this country, who will be glad to add so many good 
things to their stock. Care has been taken to give a 
large variety from grave to gay, and to include noth- 
ing that is not really good. It is published in a most 
convenient form with each part separate, and a score 
for the use of the leader in rehearsal. The style in 
which it is published, the excellence of the music, 
and the low price all combine to render it most worthy 
of the attention of all amateur quartette clubs. 



Mdsic by Mail.— Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a saving- of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 




toij1]t'5 |0irEal 





c^^ 



Whole No. 528. 



BOSTON, SATUKDAY, MAY 17, 186 2. 



Vol. XXI. No. 7. 



Tennyson's New Poem. 
The following are the words written by 
Alfred Tennyson for the Cantata, composed 
by Prof. William Stehndale Bennett, for 
the opening of the great International E.\hibi- 
tion, May 1. 

Uplift a thousand voices full and sweet, 

In this wide hall with eixrth's inventions stored, 
And praise the invisible universal Lord, 

Who lets once more in peace the nations meet, 
Where Science, Art and labor have ontpour'd 

Their myriad horns of plenty at our feet. 

O silent father of our Kinps to be 

Mourn'd in this golden hour of jubilee, 

For this, for all, wo weep our thanks to thee ! 

The world-compelling plan was thine. 
And, lo ! the long laliorious miles 
Of Palace; lo ! the giant aisles. 
Rich in model and design ; 
Harvest-tool and husbandry. 
Loom and wheel and engin'ry, 
Secrets of the sullen mine, 
Steel and gold, and corn and wine. 
Fabric rough or. Fairy fine, 
Sunny tokens of the Line, 
Polar marvels, and a feast 
Of wonder, out of West or East, 
And shapes and hues of Part divine ! 
All of beauty, all of use, 
Th.at one fair planet can produce. 
Brought from under every star. 
Blown from over every main. 
And mixt, as life is mixt with pain. 
The works of peace with works of war 

O ye, the wise who think, the wise who reign. 
From growing commerce loose her latest chain, 
And let the fair white-winged peacemaker fly 
To happy heavens under all the sky. 
And mix the seasons and the golden hours. 
Till each man finds his own in all men's good. 
And all men work in noble brotherhood. 
Breaking their mailed fleets and armed towers. 
And ruling by obeying Nature's powers. 
And gathering all the fruits of peace and crown'd 
with all her flowers. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 43.) 

Lindan, Sept 5, 1831. 

Opposite me lies Switzerland, with its dark 
blue mountains, with the foot journey, the 
storms, the beloved heights and valleys ; here 
again is the end of a great part of the journey, 
and of the diary besides. This noon I was fer- 
ried across the wild grey Rhine, above Rheineck, 
and now I am already in Bavaria. The project 
of a pedestrian tour through the Bavarian moun- 
tains is of course given up ; it were madness to 
undertake anything of the kind this year. For 
four days long it has rained incessantly, only 
more or less heavily ; it seemed as if the good 
God were out of humor. I came to-day through 
wide orchards, which stood, not under water, but 



under mud and clay ; all looks mournful and dis- 
heartening ; pardon me therefore the litany tone 
of the preceding page ; I never have seen any- 
thing more melancholy in the landscape, than the 
green overgrown hills full of snow, while the 
fruit trees below stood and mirrored themselves 
with their ripe fruit in the water. This dirty, 
thin snow, which had deposited itself upon the 
firwoods and the meadows, looked like desolation 
incarnate ; and when a townsman of Sargans re- 
lated, that in 1811 the little town was entirely 
burned out, and was just now built up again with 
difKculty ; that they lived chiefly by the cultiva- 
tion of the vine, which this year had been utterly 
cut oflT by hail ; and that now in fact for this 
time the Alps were unavailable for vine-growing, 
I could not wonder that they felt serious appre- 
hensions about this year. 

But now this is singular : if I have to go on 
foot in such weather, facing it outright, it does 
not put nie out of tune, but on the contrary I 
alwavs enjoy the feeling that it cannot get the 
better of me. Yesterday when I arrived by the 
mail-coach, in a true December cold, at Alstet- 
ten, I found that there was no carriage road to 
Torgen, where I unluckily sent my cloak and 
bundle on the last fine day. I should need it in 
the evening, for the cold was savage ; so I did 
not stop long to consider, climbed once more, for 
the last time, over the mountains, and came into 
the Canton of Appenzell. It is impossible to 
describe how the paths looked there in the woods, 
and hills and meadows ; a guide was not to be 
had, because it was Sunday and church time; on 
the whole route I did not meet a man ; they had 
all crept into the houses, and so I tramped off all 
alone for Torgen. You have no idea what a 
strange sense of independence one has, going 
through such a forest, in such weather, and over 
such a path. Besides I can now do the Swiss 
crowing and yodling to perfection ; so I screamed 
away at at the top o' my lungs, and sang several 
yodling compositions to myself, and arrived in a 
very exalted state of mind at Torgen. There 
the people in the inn were rude and uncivil ; so 
I politely said : Be hanged to you, I shall go on 
farther ; and I took out the map and found that 
St. Gallen was the nearest regular place, and 
that no other road was practicable. But not a 
man was willing to go with me in such fearful 
weather ; so I resolved to be my own carrier, and 
came railed at all Swi.ss heartiness. But instantly 
the counterpart, as it so often happens. I found 
the messenger, from whom I had to fetch away 
my things, in his wonderfully neat, newly carpen- 
tered house, and there was the real, genuine 
Swiss hospitality, as one imagines it. He sat 
with all his family around the table ; the whole 
house was so tidy and warm ; the room heated ; 
the old messenger came toward me and gave me 
his hand, compelled me to sit down, sent out 
over the whole place for a carrier, or a wagon 
for me, and as no one wanted to drive or walk, 
he gave me finally his son. For carrying my 
bundle two hours, he asked two balzen (four 



sous) ; a charmingly handsome, blonde little 
daughter sat at the table and worked, — the old 
mother read in a thick book ; the messenger 
himself in the latest newspapers — it was splen- 
did. 

When I went on, it was as if the weather would 
say: " If you mean to defy me, I can do the 
same," for it began to rage with redoubled fury. 
It seemed sometimes as if a fist seized the um- 
brella, and shook it, and crushed it together ; 
with my stiff fingers I could scarcely hold it ; the 
paths were dreadfully slippery, so that my guide 
fell full length before me in the mud ; — but that 
was nothing ; we cursed and yoclled heartily, 
came at last to the Nunnery, sang them a sere- 
nade, and reached St. Gallen. 

So the journey was accomplished, and yester- 
day I drove from there to this place, found in the 
evening a wonderful organ, and could play 
" Schmilcke dich, o liehe Seele" to my heart's con- 
tent. To-day I go to Memniingen, to mon-ow to 
Augsburg, the day after, God willing, to Munich, 
— and so I have been in Switzerland. You have 
found it tedious perhaps, that I have written all 
these insignificant minutiEB ; but the times are so 
gloomy; no reason why loe should be so ! And 
if I sent you my diary, it was merely to tell you, 
how I must fain think of you, and how I am with 
you everywhere, where it goes well with me, and 
where I feel happy. The muddy, wet foot-trav- 
eller takes his leave, and will write again as citi- 
zen with cartes de visile, clean linen and dress 
coat. Farewell, Felix. 

Munich, Oi-t. 6, 1831. 
MUNICH BURGHER LETTER. 

It is a splendid feeling, to wake up in the 
morning with a great piece of Allegro to instru- 
ment, with various oboes and trumpets, and the 
brightest weather too outside, which promises a 
fresh, long walk in the afternoon. So I have had 
it now for a week past ; the friendly impression, 
which Munich made on me the first time, is this 
time greatly heightened. I scarcely know an- 
other place where I feel so comfortable and citizen- 
like as here. Especially it is too pleasant, to live 
among merely cheerful faces, to make one of 
them yourself, and to know everybody in the 
street. I have now my concert before me, which 
keeps my hands full; my acquaintances, who dis- 
turb me every moment in my work ; the fine 
weather, enticing one to go out; the copyists, 
compelling one again to stay at home, — all this 
makes the most agreeable and active life. My 
concert had to be postponed, on account of the 
Oct)ber festival, which begins next Sunday, and 
lasts all next week. There will be theatre and 
ball every evening, and no orchestra or hall to 
be thought of. 

On Monday evening, though, the 1 7th, at half 
past six, think of me ; then away we go with 80 
violins and doubled wind instruments. The C 
minor Symphony makes the beginning of the 
first part, and the " Midsummer Night's Dream " 
of the second. The first part closes with my 



50 



DWIGHT'S JOURNAL OF MUSIC. 



new G minor Concerto, and at the close of the 
second I shall unfortunately have to improvise. 
Believe me, I do this unwillinjrly, but the people 
insist upon it. Barmann has decided to play 
again ; Breiting the Vial, Loehle, Bayer and 
Pellegrini are the names of the singers, who are 
to execute an ensemble piece ; scene, the great 
Odeon hall ; concert for the benefit of the poor 
of Munich ; the magistrate invites the orchestra 
and the burgomaster the singers individually. 
Exery morning now I have to write, to correct, 
to score for it ; so it gets to be one o'clock ; then 
I go to the Kaufinger Gasse, to Scheidel's coffee 
house, where I already know all the faces by 
heart, and find every one of them every day in 
the same place : two playing chess, three looking 
on, five reading the newspaper, six dining, and I 
am the seventh. After dinner Barmann usually 
comes, takes me away, and we arrange concert 
matters together, or we take a walk to a beer 
and cheese place ; then I go home again and 
work. 

This time I have declined all evening in- 
vitations; but I have so many pleasant houses, 
where I go uninvited, that I seldom light a can- 
dle in my parterre room until after eight. I live 
on the ground floor, in a room which was former- 
ly a shop, so that with one step I am in the mid- 
dle of thestreet, if I unbar the window shutters 
boforo my glass door. Whoever passes by, can 
peep into the window and say good morning. 
Next to me lives a Greek, who is learning the 
piano, who is hideous ; so much the prettier is 
the landlord's daughter, who is very slender, and 
wears a little silver cap. Three times every 
week, at four in the afternoon, there is music at 
my room. Then Barmann, Breiting, Staudacher, 
the young Poissl, and many others, come to me, 
and make a musical picnic. In this way I learn to 
know the operas, which heretofore unpardonably 
I have neither heard nor seen : as "Lodoiska," 
" Faniska," " Medea ;" also " Preciosa," " Abou 
Hassan," &o.; — the scores are lent to us by the 
theatre. 

But on Wednesday evening we had groat fun. 
Several wagers had been lost, in which we were 
all to enjoy the treat, and from one proposition 
to another we came at last to that of giving a 
musical soirde in my room, and inviting all the 
honoratiores to it. So it became a list of about 
thirty persons ; several came also uninvited 
and got themselves introduced. There was great 
want of room ; we thought at first of seating 
some people on the bed, but many patient sheep 
went into my little chamber ; the thing was in- 
credibly animated and successful. E too 

was there, — sweeter than ever, melting with 
ecstacy, poetic glow and gray stockings, in short 
inimitably tedious. First I played my old B 
minor Quartet; then Breiting sang Adelaide; 
then Herr S. played violin variations (but dis- 
graced himself very much) ; then Barmann play- 
ed the first Quartet of Beethoven CF major), 
which he had arranged for two clarinets, basset 
horn and bassoon; then came an aria from 
Euryanthe, which was furiously encored ; and at 
the close I had to extemporize, — was unwilling — 
but they made such a fearful uproar, that Inolens 
was forced to come forward, although I had no- 
thing in my head, but wine-glasses, chairs, cold 
roast meats and ham. The Cornelius ladies sat 
in the next room with my landlord's family to 
listen ; in the first story the Schauroths were 



making a visit for the same purpose, and people 
stood too in the street and in the entry. Then 
too the heat in the crowded room, the stunning 
noise, the mixed assembly, — and when it came at 
last to bread and butter and drinking, it was wild 
enough ; all sorts of fraternizations were drank, 
and healths were toasted ; the formal persons sat 
in the midst of the confusion, and took it patient- 
ly with their grave faces; we did not break up 
until an hour and a halt after midnight. 

The next evening came the real counterpart ; 
then I had to play before the queen and the court. 
There all was smooth and trim and proper; at 
every step your elbow touched an Excellency ; 
the prettiest, most flattering speeches flew around 
the room, and I, the roturier, in the midst of all, 
with my citizen heart, and aching head {Kaizen- 
Jammer) ! I gnawed my way out, however, as 
well as I could, was obliged at last to improvise 
upon royal themes, and was praised prodigiously. 
But I was most pleased, when the Queen said to 
me after the improvisation : "It is really strange ; 
you carry one right away, and one can think of 
nothing else during the music ;" whereupon I 
begged pardon for the carrying away. 

You see, so pass my days in Munich. But I 
have forgotten to say, that every day at 12 

o'clock I give a lesson to tlie little L in 

Double Counterpoint, four-part composition, and 
the like, which makes me realize again how con- 
fusedly and stupidly most of the books and 
teachers talk upon the subject, and how clear 
the whole thing is, when clearl}- stated. 

She is one of the most charming creatures I 
have ever seen. Imagine a delicate, pale little 
girl, with noble, but not handsome features, so 
interesting and unusual, that it is hard to look 
away from her ; and all her movements, every 
word full of geniality. Now she has a gift- of 
composing songs, and of singing them, the hke of 
which I never heard ; it is the most perfect 
musical pleasure,' that ever yet fell to my lot. 
When she seats herself at the piano, and begins 
such a song, the tones have a different sound, — 
the entire music sways so strangely back and 
forth, and in every note there is the deepest, fin- 
est feeling. Then when she sings the first tone 
with her tender voice, every person becomes still 
and pensive, each in his way is thrilled through 
and through. Could you but hear the voice ! 
So innocent, and unconsciously beautiful, so from 
the inmost soul, and yet so very calm ! A year 
ago the genius was all there ; she had written 
no song, in which there was not some trait of 

talent as clear as the sun ; and then M and 

I made a noise about it among the musicians in 
the town ; but no one would believe us. Since 
then she has made the most remarkable progress. 
He whom the present songs do not take hold of, 
can have no feeling at all ; and now it has be- 
cqpie unfortunately the fashion, to ask the little 
maiden for songs, and then remove the lights 
from the piano, in order to enjoy their melan- 
choly in companionship. This makes an unpleas- 
ant contrast, and several times, when I was ex- 
pected to play something after her, I was not in 
the right state to do it, and allowed the people to 
go ofi^. For it is possible she may be spoiled by 
all the talk, since nobody stands by her who can 
understand and guide her, and since she herself, 
strange to say, is as yet wholly without musical 
culture, knows little, can scarcely distinguish 
good music from bad, and really, with the excep- 



tion of her own things, finds everything wonder- 
fully beautiful. If she should come to a sort of 
satisfaction with herself, it would soon be all 
over with her. I have done my part, and have 
begged her parents and herself most earnestly, 
that she should avoid society, and not suffer so 
divine a gift to come to nothing. Heaven grant 
it may avail ! Perhaps I will .send you soon, 
sisters, .some of her songs, which she has written 
off for mo out of gratitude, becau.se I teach her 
what she already knows by nature, and have 
held her somewhat to good and earnest music. 

I also play an hour every day upon the organ ; 
but unluckily I cannot j)ractice as I would, be- 
cause the Pedal is five tones short, so that Sebas- 
tian Bach's passages cannot be made on it. But 
there are exquisite registers in it, with which one 
can vary Chorals. Then I am delighted with 
the heavenly flowing tone of the instrument; 
especially, dear Funny. I have found here the 
registers, with which one must play Seb. Bach's 
" Schmuclce dicli, o liehe Seele." They seem to 
have been made for it, and sound so touching, 
that a thrill goes through me every time that I 
begin it. For the parts in motion I have an 
8-feet flute, and a very soft one of 4 feet, which 
floats all the time above the Choral. You know 
the thing already in Berlin. But for the Choral 
here is a key-board, which has only reed stops, 
and so I take a soft oboe, a very light dairon, of 4 
feet, and a viola. This draws the Choral out in 
such tranquil, penetrating tones, as if it were 
distant human voices, singing it from the bottom 
of their hearts. 

On Sunday, Monday and Tuesday, if you have 
received this letter, I shall be on the Theresien 
Wiesc with 80,000 other people , think of me 
there, and so farewell. Felix. 

Munich, Oct. 18, 1831. 
Dear Father ! 

Pardon me, that I have not written for so long ; 
hut the last days before the concert passed in 
such busy hurry and confusion, that I could get 
no rest; besides, I preferred to write you after 
the concert, so as to tell you all, and thus the 
long pause has arisen between this and the pre- 
ceding letter. I write expressly to you, because 
it is so very long since I had a line from your 
hand ; I wanted to ask you to send me soon 
again a few words, if only to say that you are 
well, and that you greet me. You surely know, 
how much it always refreshes me and makes me 
happy. So do not take it ill of me, that I ad- 
dress to you the letter with the little concert de- 
tails. My mother and sister have desired them, 
and I only wish to-day to say to you, how much 
I long for a few lines from you once more. Please, 
do let them come ; it is indeed a long time ! 

Yesterday, then, my concert came oflT, and 
more brilliantly and satisfactorily, than I had ex- 
pected. The whole thing was animated and suc- 
cessful ; the orchestra played admirably, and a 
large sum will go to the benefit of the poor. A 
couple ot days after my last letter I went to a 
general rehearsal where all the persons were 
assembled, and, although the orchestra had come 
by official invitation, I had to invite them again 
orally in a handsome speech from the stage. That 
was the hardest thing I had to do in the whole 
concert ; but I did not object, for I wanted to 
learn how a concert-giver feels, and this belongs 
to the experience. So I took my position at the 



BOSTON, SATURDAY, MAY 17, 18 6 2. 



51 



prompter's box, and spolce very politely ; the or- 
chestra took off their hats, and murmured assent 
at the end of my address. On the following day 
there were already more than 70 signatures upon 
the circular. Immediately afterwards I had the 
pleasure of a call from one of the leaders of the 
chorus, who was sent to ask me, if I had not 
also composed a chorus, which I would like to 
give ; they would be glad to sing it without com- 
pensation. Now although I did not wish to give 
more than three pieces of my own composition, 
the offer was very gratifying, and what most de- 
lighted me was the great sympathy expressed in 
that way; for even the oboists, whom I was 
obliged to take for English horn, trumpets, &c., 
would not accept a single kreutzer, and we had 
above 80 players in the orchestra. 

Now came all the little disagreeable cares of 
announcements, tickets, preliminary rehearsals, 
&c., and moreover it was the week of the Octo- 
ber festival. In Munich the days hurry away 
so rapidly at all times, that one may well doubt 
whether they ever actually were present; but it 
is especially the case during the October fes- 
tival. Then every afternoon at 3 o'clock you go 
out upon the wide, green Theresien Wiese, where 
it swarms with people, and do not come away till 
evening ; for everywhere you meet acquaintances, 
and there is something to say, or something to 
be seen : a wonderful ox, a tamet shooting, a 
race, pretty gold an<I silver cajis, &c. Any busi- 
ness which one maj- have with anybod)', can be 
transacted there, for the whole city is out on the 
meadow, and only when the mist begins to rise 
do they begin to swarm back again towards the 
Frauenthiiraie. Then all the people are in mo- 
tion, running to and fro, — the snowy mountains 
in the distance looking soolear and peaceful, that 
they always promised another glad day for the 
next, and kept the promise; — and what is the 
main thing : onlj' cheerful and careless faces, 
with the exception of two or three Deputies who 
take their coffee in the open air by themselves, 
and talk at length about the sad state of the 
country, while the country stands around them 
and looks bright and happy. When the king 
himself distributes the prizes on the first day, 
takes off his hat before every winner, gives his 
hand to the peasants, or takes them by the arm 
and shakes them, I find it all very good in itself, 
as societj' here externally is less separated ; but 
whether it goes deep, and is from the heart, of 
that we will talk together some day. I stand by 
my first opinion; it is at least good, that the ridi- 
culous constraint of etiquette is not outwardly 
respected ; that at all events is something. 

Saturday morning was my first rehearsal. We 
had some 32 violins, 6 double basses, doubled 
wind instruments, &c. But, God knows why, the 
rehearsal went badly ; I had to rehearse my C 
minor Symphony alone for two hours. My Con- 
certo did not go at all ; we could only play the 
" Midsummer Night's Dream " once through very 
hastily, so that I wanted to withdraw it from the 
bills ; but Barmann positively would not consent, 
and assured me they would make it go better. — 
Of course I awaited the second rehearsal with 
anxiety ; but meanwhile luckily there was a 
great ball on Sunday evening, where it was very 
nice, and I grew lively again, so that on the next 
morning I came to the general rehearsal in an 
extremely pleasant mood, felt perfectly at ease, 
and began at once with the Overture, — rehears- 



ed it incessantly until it went, and did the same 
with my Concerto, so that the whole rehearsal 
passed off V3ry well. 

On my way to the concert in the evening, 
when I heard the noise of the carriages, I felt a 
real pleasure in the whole affair ; at half-past six 
the court came, I took my little English baton, 
and directed my Symphony. The orchestra 
played splendidly, with a love and a fire, such as 
I had never heard in any performance under 
me ; they all crashed in at the fortes, and the 
Scherzo was very fine and delicate. It pleased 
the people very much too, and the king always 
led off in the applause. Then my stout friend 
Breiting sang the Aria in A flat major from 
Euri/antJie, and the public cried dacnpo, became 
livelv, and showed a good taste. Breiting was 
happy, sang with inspiration, and most beautiful- 
ly. Then I came to my Concerto, was received 
with very loud and long applause, the orchestra 
accompanied well, and the composition too was 
wild enough ; it gave great satisfaction to the 
people ; they wanted to clap me out, as it is the 
fashion here, but I was modest and did not come. 
Between the parts the king got hold of me, 
praised me very much, and asked all sorts of 
questions ; among others, whether I was related 
to Bartholdy, to whose residence he always goes 
in Rome,becau!:e that is the cradle of the modern 
Art,"* &c. The second part began with the 
" Midsummer Night's Dream," went capitally, 
and made much impression. Then Barmann 
played, and then came the Finale in A major 
from Lodobika ; but I did not hear either of them, 
because I had to cool off a while in the anteroom. 
When I came to the Fantasia, I was again very 
warmly received ; the king had given me Non 
piu andrai as a theme, and on that I had to im- 
provise. I am only strengthened in my opinion, 
that it is nonsense to extemporize in public. 
Seldom have I felt so foolishly, as when I sat 
down there to produce my Fantasia before the 
public. The people were very much pleased ; 
there was no end of clapping — called me out, — 
the Queen paid me all sorts of compliments ; 
but I was angry and disgusted with it, and I will 
not do it publicly again ; it is a false practice, 
and an absurdity at the same time. 

So that was my concert on the 17th, and it 
now lies behind me. There were about 1100 
persons present ; so the poor may be contented. 
But now enough of that. Farewell all, and be 
happy ! Felix. 

(To be continued.) 
* See the letter from Rome of feb. 1, 1831. 



History of the Opera. 

A Review. 

' The new history of the lyrical drama, with which 
Mr. Sutherland Edwards favors the puhlic, has three 
qualities to recommend it. In the first place it con- 
tains, for its size, a very complete account of the 
progress of an art which now heyond all others occu- 
pies the attention of the civilized world ; in the 
second place it is one of those treasures of amusiug 
anecdote that may be taken up and laid down ot a 
moment's notice; in the third place it ahounds with 
the ohservations of a shrewd and independent thinker, 
who has seen much, read much, and travelled much, 
and who approaches his subject less as a professed 
musician than as one of those cultivated men who 
take a position between the artist and the multitude, 
and who, after all, constitute the body upon whom 
the general appreciation of evei'y art depends. 

That the anecdotes occupy a very large portion of 
the work will he naturally surmised from the nature of 
the suhject. Theatres, whether used for lyrical pur- 
poses or not, are so many wellin;;; fountiiius of histo- 



riettes, witty, scandalous, comical, and tragical, and 
when they are operatic they so completely identify 
themselves with the aristocratic life of a nation, that 
their records take place among the most striking 
illustrations of a period. Opera, dated from its ear- 
liest beginning, in anything like a complete form, is 
scarcely 250 years old, ami this age takes us into a 
state of things that may almost be regarded as myth- 
ical. Handel's first opera was procuced at the 
Haymarkct in 1711, and, immortal through his ora- 
torios, he is all but forgotten as a composer for the 
lyrical stage. It was in the latter half of the last 
century that Gluck brought out the first work in 
which his peculiarities were exhibited ; yet when a 
revival of Gluck's master-pieces is suggested, the 
suggestion, though heard with respect, is regarded as 
a direction towards the remotest antiquity. "What is 
new with respect to every other art is ancient with 
respect to music, yet what a long and detailed history 
of petty warfare may he written in connexion with 
opera ! Who is ignorant of the onslaught made by 
the English wits upon the lyrical drama when Italian 
singers were new to the stage, and it seemed as 
though the sil'.erhoofl of poetry and music strongly 
resembled the brotherhood of Cain and Abel ? 

By the way, the oft-told tale, as given hy Mr. Ed- 
wards, is well worth reading, for he takes an original 
view of the memotahle squabble, considering that 
Addison liked opera at the bottom of his heart, and 
merely indulged in pleasant banter, whereas Steele 
was not only a hitter, but a base enemy of musical 
art. " Poor Dickey " has been so often patted on the 
b.ack and fondled of late that, when Mr. Edwards im- 
putes to him an "Anti-Christian and cowardly spirit," 
one feels a pleasure akin to that of the Athenian who 
ostracized Aristiiles. Memorable, too, are the cora- 
h;its that arose within the limits of the musical world 
itself The fiercer war between the Cuzzoni party, 
headed by the Countess of Pembroke, and the Faus- 
tina party, headed by the Countess of Burlington and 
Lady Delaware, when catcalls were used as weapons 
of offense, stands high among the conspicucus follies 
of the early Georgian era. The silly epigram of 
Swift remains an ineffaceable monument of the con- 
test between the partisans of Handel and those of 
Buononcini, and all the world has heard of the Gluck 
and Piccini factions, which only 15 years before the 
French Revolution divided Paris into two hostile 
camps. Indeed, were it not for (he history of musical 
polemics, the names of Buononcini and Piccini would 
not he remembered at all. Strnggles between Marists 
and Todists, and a still more insignificant war 
between Ramists and Lullists, fill up the stormy his- 
tory, and one arrives at the conclusion that music, 
like theology, has more frequently been the suhject of 
fierce battle than of serious study. When the parti- 
sans of Cuzzoni rendered Faustina inaudible hy their 
hisses, and the partisans of Faustina fully returned 
the compliment, the notion of liearinci an opera must 
have been altogether Utopian. Mr. Edwards's 
remark that these musical squabbles chiefly raged in 
London and Paris, where opera was an exotic, where- 
as they were comparatively unknown in Italy, the 
birthplace of the lyrical drama, is worth reflection. 

The connexion between music and the spirit of 
faction more than anything else tempts the historian 
of the former to indulge largely in amusing stories. 
For the few who can appreciiite an sesthetic or scien- 
tific discussion, there are hundreds who can laugh at 
a repartee, and thousands who can enjoy a " row." 
Mr. Edwards, as we have said, is most liberal in his 
allowance of anecdotes, and he must not he blamed 
if some of his stories have been often told already, 
for jests tliat are "Joes" to a particular class are 
frequently new to the gener.al reader. Down to a 
certain period the ground he has traversed has often 
been traversed already, and he is to be commended 
for proceeding all the way from Monteverde to Doni- 
zetti, and remaining thoroughly amusing through- 
out. 

If we set aside the illustrious name of Gluck, the 
Opera of France, measured hy the extent of its influ- 
ence on foreign nations, is the least important in 
Europe till we come to a very modern time. No one 
everdreams of reviving the works of Lulli or Rameau, 
or of inquiring into their peculiarities, and the obliv- 
ion to which these quondam idols of Paris are con- 
signed is not merely the work of time. In the middle 
of the eighteenth century the French were completely 
isolated in mnsical matters, and, more proud of their 
Opera than of any other institution, worshipped gods 
utterly disregarded beyond their frontiers. While 
the Parisian journals were extolling the greatness of 
Rameau, as the first musician in Europe, Grimm 
made the quiet remark that " Eurojie scarcely knew 
the name of her first musician, knew none of his 
operas, and could not have tolerated them on her 
stages." England, though she had lost that high 
musical character which, as Mr. William Chappell 



52 



DWIGHT'S JOURNAL OF MUSIC. 



proves, belonged to her in the days of the Tudors, is 
slill interesting in the eitrhteenth century as a home 
nf the Italian Opera. But no such glory belongs to 
France ; she will not shine by a foreign light, though 
her own refuses to twinkle in foreign eyes. While 
there were Italian operas at Naples, Turin, Dresden, 
Vienna, London, Madrid, aud even Algiers, there 
were none in Paris, where, as Mr. Edwards observes, 
it seemed '• to form part of the national honor to 
despise Italian music." 

Nevertheless, that Grand Opera, which bad so little 
influence on the music of the world in general, always 
stands as a prominent institution in musical history, 
when regarded in connexion with the history of the 
world. No one cares for the music of Lulli and Ra- 
meau, but they are nevertheless familiar figures to all 
who take interest in the life of the eighteenth century, 
when, if France could not set the fashion in music, 
she was in every other respect the leader of thought 
and of taste in Europe. The French opera, too, is 
the cradle of the ballet, and so constant has been 
the respect paid .at Paris to an art regarded as but 
secondary elsewhere, that from the days of Lulli to 
those of Auber, a " grand " lyrical drama has not 
been deemed complete without a diverthsciitent. Here 
is a new connexion with that rer/ime that fell with the 
olden Bourbon dynasty. Who that is familiar with 
France on the eve of the Revolution ignores Madel- 
eine Guimard and Vestris, the " Dieu de la Danse." 

With the Italian campaigns of the First Napoleon 
a taste for Italian music began to prevail in France, 
but nothing very great was achieved at the Opei'a in 
the time of the Republic, the Consulate, or the Em- 
pire. Of the ghastly state ot things during the 
Republic Mr. Sutherland Edwards, on the authority 
of M. Castel Blaze, gives a striking picture. The 
opera was first managed by the four leading sanscu- 
loltfs Henriot, Chaumette, Le Koux, and Hebert, and 
these, even after they were deposed from their mana- 
gerial throne, were in the habit of supping with the 
aciors behind the scenes, not on the principle of tlie 
old nobility, who paid liberally on such occasions, 
but at the expense of the unfortunate person who 
presided over the refreshments. The method of self- 
invitation was simple and easy. Henriot or Danton 
would say to the favored artist, " We are going to 
your room, see that we are entertained properly." A 
splendid repast was prepared and duly devoured, and 
the patriotic guests took their departure without 
hinting at payment. As the actors themselves did 
not receive a sous of salary, even in the shape of 
paper money, the expense fell, as we have said, on 
the keeper of the refreshment-room. To decline the 
intrusive honor would have been highly perilous in 
the days of liberty, equality, and the guillotine. 

A strange state of things is revealed by this Repub- 
lican episode in the history of French opera. The 
Government was not satisfied with decapitating a real 
King and Queen, and treating the people with a per- 
formance at the opera gratis, on the anniversary of 
the execution of Louis XVI., " in joyful commemo- 
ration of the death of the tyrant," but even player- 
kings and player-queens were excluded from the 
boards. When the satisculottes school of drama had 
become insufferably dull under this prohibition, the 
dethroned sovereigns were allowed to sneak back 
again, degraded into "chiefs" or "mayors, while on 
one occasion a concrete "roi" was replaced by an 
abstract " loi," and one of the lines of an opera, 
modified to meet this alteration, declared that " La 
loi passait et le tambour battait Aux Champs." An 
artist who was endowed with something like oommon 
sense, and with an uncommon rapidity of articulation 
improved the line by saying, " Le pouvoir execntif 
passait et le tambour battait Aux Champs." 

One contumacious prima donna nearly lost her head 
by refusing to appear as the Goddess of Reason in 
one of the celebrated rational processions of the time, 
as she learned, through a gloomy joke uttered by 
Chaumette, — " Well, ciloi/enne, since you refuse to be 
a divinity, you must not be astonished if we treat you 
as a mortal." Fortunately, a zealous sansculotte was 
anxious to obtain the honor for his wife, who, sorely 
against her will, represented the Goddess in proper 
non-costume while the thermometer was below freez- 
ing point, and the head of the prima donna remained 
on her shoulders. Possibly the menace of Leonard 
(playfujly called Leopard) Bourdon, poet and mem- 
ber of the ''mountain," may lead some unfortunate 
dramatic author who cannot prevail on a manager to 
read his play to surmise that the days of the Republic 
were not so bad after all. Bourdon wrote a most 
revolting opera against the Church, which directors 
and artists refused to produce, till at last this extreme 
specimen of the genus irritabite vatum declared that if 
his work was not quickly performed, he would have a 
guillotine erected on the stage — a real guillotine, be 
it understood, not an imitation of the murderous ma- 
chine like that which is mounted by Mr. Benjamin 



Webster in the drama of the " Dead Heart." The 
actors, however, hud the be<t of it in the long run, 
and Bourdon's piece, though printed at the expense 
of the Republic, was never brought out at .all. 

The anecdotes which we have given in illustration 
of an extremely short and inglorious period of opera- 
tic history occupy bnt very few pages in Mr. Edwards's 
book, and when we inform our re.iders that his two 
volumes are replete with matter of the same kind, 
they will easily judge of the amount of entertainment 
to he derived from his labors. So abundant is his 
material, tluit he might, if he had pleased, have filleil 
a dozen quartos, and, as he himself confesses, he 
found the task of omission heavier than that of col- 
lection. Let us add that he has omitted well, and 
that he has scasonc<l a pleasant and instructive history 
with the very concentrated essence of agreeable 
gossip. 



Love Songs for Lcnatics. — The Bedlamitish 
bosh that nowadays is publislied in the way of ballad 
literature is I'eally of such .senseless and lunatic a 
character, that one would think the scribes who write 
it were not clothed and in their right mind, but were 
one and all invested with straight waistcoats. Any 
stuff that has a metre, and occasionally rhymes, no 
matter how devoid of reason it may be, is deemed 
worthy to he dubhed a sentimental ballad ; and we 
are sure the samples following, if onljf set to music 
by some popul.^r composer, and sung at a fi3w con- 
certs by some of our first singers, would soon be 
warbled in our drawing-rooms and whistled in our 
streets ; — ■ 

I. 
Gaily the tiger-cat tuned his guitar. 
Serenading the magpie with feathers and tar ; 
Sweetly he sneezed at her, sourly he sighed, 
" Lady bini, lady bird, wilt be my bride V 
She for the elephant sadly had pined. 
Ate but an ox, and then vowed she had dined ; 
Carried a photograph close to her heart, 
Wrapped up in lobsters, bank-notes, and plumtart. 
At midnight the rivals they met in the whale. 
And foU!;ht by the light of the grasshopper's tail ; 
The elephant stood on bis trunk to take breath, 
And the tiger-cat cosily hugged him to death. 
Then with a cabbage stalk boldly he wrote : 
" Come, love, and tread on the tail of my coat ; 
See thy own Crocodile whistling for thee," 
He groaned — gave a gurgle — a cold corse was he ! 

II- 

Lively, lovely Isaline, 
Dancing o'er the moon so green, 
Freckled is thy snow-black hair. 
Sparkling through the spangled air. 
While their harps the dolphins play, 
Lo ! thou skimm'st the milky whey ; 
Wilt then be the mackerel's queen? 
Lively, lovely Isaline ! 
Blighted, plighted Isaline! 
Mournful croak the cats serene ; 
Howl the gold-fish, mew the frogs, 
Weep the shrimps, and purr the dogs. 
All thy pets with rapture say : 
'• Our lady will be wed to-day." 
But canst thou love a fish so green ? 
Blighted, plighted Isaline. 



Twinkle, twinkle, little girl, 
How thy nose is out of curl ! 
Up above thy chin so high. 
Like a lamp-post in the sky. 
When the verdant sun has gone, 
And the stars their hair have done, 
AVe will hire a lawyer's dray, 
And gallop o'er the sea so gay. 
Then we'll feast on codlin chops, 
Peagreen prawns, and lollipops; 
Hunt the skipper, catch the croup, 
And fill our shoes with myrtle soup. 



-Punch. 



Willielm Taubert. 

[TraDFlated for this Jouroal from the Leipzig Signale.] 

Born at Berlin on the 23d of March, 1811, Carl 
Gottfried Wilhelm Taubert manifested talents 
for music at an early age, and consequently received 
his first piano-forte instruction from Neithardt, the 
recently deceased director Of the Dom-chor. Through 
the mediation of General von Witzleben he was then 
put under the tuition of Ludwig Berger on the piano, 
and of Bombard Klein in composition. At the age 



of thirteen ho appeared for the first time in public ; 
and in his sixteenth year be attended the Berlin Uni- 
versity on account of philosophical studies, and then 
labored as a music teacher, raising himself in that 
capacity in the course of several _\ears to the first and 
most esteemed position. In 18.31 he was selected to 
conduct the Berlin Court Concerts, and in the same 
year his first Symphony (in C major) was performed; 
which w.is followed in .January, 1832, by his opera 
"Die Kinnes" (the Fair), the text by Edward 
Devricnt. In 1833 he made an artistic tour to 
Leipzig and Dresden, and was particularly success- 
ful with his piano-forte Concerto (engraved as Op. 
18). He also brought out in the hall of the Gewand- 
haus his overtures to " Othello," to " The Gipsy ' 
and to the " Little Man in Grey." 

Here wc must bear in mind, that Taubert was the 
first, who at a time when the virtuoso composers 
reigned alone in piano-forte music, came forward in 
the Leipzig Gewandhaus as the bold fiioneer of Men- 
delssohn with a Piano Concerto by Beethoven (Oct. 
1833) and a Piano Sonata by Beethoven (Nov. 1833). 
The year 1834 is marked by the music to Edw. 
Devrient's play, " 7jas qrnne Mannlein" (little man 
in grey), by the opera " The Gypsy " ftext also by 
Devrient), by Taubert's nomination as a regular 
member of the Berlin Academy of Arts, and finally 
by his marringe with Wilhelmina Schechner, the 
sister of the celebrated singer, Nanette Schechner. 

In the year 1836 he made a longer tonr to Eng- 
land, Scotland, Hdriand, the Rhine, &c. ; and after 
his return appeared his first Trio (Op. 32), his 
" Souvenirs d'Ecosse, and the 12 Concert £(!(rfes (Op. 
40). In 1839 ho was successful in Munich as a 
piano-player, particularly with his " Campanella ;" 
and on his return he superintended the publication 
of Berger's remains. 

In 1840 appeared the first of his very popular and 
indeed exquisitely charming " Kimlerlieder " (Songs 
of Childhood), which have since grown to the num- 
ber of 84 (in 7 sets). In February, 1842, his one- 
act Opera "The Marquis and the Thief" was 
brought out ; and on the 1st of June of the same 
year Tanbert was appointed to the place, left vacant 
by the death of Miiser, of Kapellmeister at the Royal 
Opera in Berlin. In that year also he composed a 
festival Cantata for the king's birth day, and a festi- 
val play for the centennial anniversary of the open- 
ing of the Berlin opera house. 

In the. winter of 1842-3 he called into life the 
"Symphony Soir&s" of the Royal Kapelte, which 
in time became for Berlin what the Gewandhaus 
concerts are for Leipzig, and which justly stand in 
great favor with the Berlin public as their concerts 
par excellence. The years 1843, 1845 and 1846 pro- 
duced the following larger works : the music to the 
Medea of Euripides, to Tieck's " Blue Beard " (the 
overture was already composed in 1837), and the 
Symphony in F major (Op. 69), which, at Mendels- 
sohn's suggestion, was performed under the compos- 
er's own direction in 1846 in the Gewandhaus. In 
the last named year he went with Jenny Lind to 
Vienna, where he appeared as composer, virtuoso 
and director. In 1847 and 1848 he had orders con- 
ferred on him by the Duke of Coburg and the King 
of Prussia. 

In 1850 appeared the Symphony in E minor, Op. 
80, (performed in Leipzig in 1851); in 18.52 the 
Pater noster of Klopstock ; in 1853 (Oct. 9) the 
opera " Joggele" (words by Hans Koster) was per- 
formed ; and in 1854 an overture and festival play 
for the silver wedding of the present royal pair. In 
the year 1855 come the Symphony in C minor (Op. 
113), performed afterwards under Taubert's direc- 
tion in Leipzig, and the music to Shakspeare's 
"Tempest," which was played according to Dingel- 
stedt's scenic arrangement, and with this music in 
November, 1855, at Munich, where the king of Ba- 
varia conferred upon the somposer the first class of 
the order of St. Michael. 



BOSTON, SATURDAY, MAY 17, 186 2. 



53 



Of Taiibert's productions since 1857 we have yet 
to mention : the Opera "Macbeth" (text by Egs:ers, 
first produced in November 1857 at Berlin) ; a Can- 
tata for the commemoration of Eauclt (March 30, 
1858) ; a festival Ode for the semi-centennial jubilee 
of the Berlin University (Oct. 16, 1860) ; a concert 
Overture, entitled "From a thousand and one nights" 
(the last of Taubert's larj^er works). 

One hundred and thirty-seven works of Taubcrt 
have been printed : over 70 for the piano-forte with 
and without accompaniment ; among which there is 
much, in the department of so-called character and 
genre pictures, which are of new invention and at the 
same time v.iluable, (Impromptus, Op. 14, " Miniie- 
liedei;" "Miniatures," " Tutti fratti," " Camera ob- 
scura," " Jugend paradies" (Paradise of Youth), 
" Bilderbuch" {T[)\ct\ire book), " Aschejibrddel"{ {Cin- 
derella), " KiiiderstikJce" (children's pieces), &c.; so 
that he must be counted among the real founders of 
this kind of music. Also 3 Symphonies in score, 3 
string Quartets, more than 300 songs (in 50 or 60 
sets), and about 10 pianoforte arrangements from 
operas and Symphonies. 

As pianist, not less than as composer, Taubert is 
one of the most fine and most thoroughly cultivated 
artists of our century. His forte lies in the graceful, 
the finely spun, the tender and naive, and therefore 
he has done the most admirable things in the smaller 
genre (character-pieces, songs without words, &c.) 
and in song ; although he has also shown a gift for 
soaring and pathetic styles of expression in the 
choruses to Medea, in several instrumental works, 
but especially in the opera "Jlacbeth." 

By his very successful direction of the concert for 
the Prussian fleet, on the 2Gth of January of this 
present year, in the Berlin Opera house, in which 
his " TImrmer-und Matrosenlied " (Warders' and 
Sailors' Song) was received wiih jubilation, Taubert 
won the sympathies of the Mannergesang-vereins of 
Berlin (1500 singers), and has thereby gained an 
important influence for the ennobling of part-singing 
by men's voices. His characteristic music to Shake- 
speare's "Tempest" has just had a brilliant success 
in Leipzig. Among his pupils the most notable are : 
Theodore KuUak, Alexander Fesca, Gustave Schu- 
mann and Louis Schlottmann. 



Bach's Passion Music- 
John Sebastian Bach's Grosse Passions-musik 
nach dem Evangelium Matthdi* will shortly be per- 
formed, for the first time (1), in Vienna, by the 
Sing-academie. " The custom," says Die Recensio- 
nenj " of representing in a musical and epico-dramat- 
ic form the sufferings of the Saviour, during Passion 
week, is a very ancient one. In the Eoman Catholic 
Church the plan pursued ha.s, according to all tradi- 
tion, invariably been for one singer to sing the narra- 
tive of the Evangelist, for another to deliver the 
words of Christ, and for others to give the dialogue 
of the remaining personages introduced ; the people 
are represented independently by the choir. This 
plan throws the dramatic element far into the hack- 
ground, and places the music in a very subordinate 
position, since everyone taking part in the perfrom- 
anee gives all that is entrusted to him in the simple, 
strongly marked choral tone, while, in conformity 
with a decree of the Church, all instrumental accom- 
paniment is wanting. The ' Passion ' is connected 
with the ceremonies of the liturgy, and hence any 
dramatization or musical development of the subject 
is impossible." 

A very different course is adopted in the Protestant 
Church, in which the composer, hampered by no 
consideration imposed by the ritual, has a much wi- 
der field for his exertion. Protestant composers 
availed themselves, at a very early date, of the oppor- 
tunity. But, however admirable were the works of 
Heinrich Schiitz (1585-1672,), Sebastiani (1672), 
Kaiser and others, not one of them at all approaches 
the Passion nach dem Evangelium Matthdi, by John 
Sebastian Bach, the first performance of which 
magnificent production took place on Good Friday, 
1729, in St. Thomas's Church, Leipsic. That the 
works published by Bach, under the title of Passjons- 
musik, were subsequently allowed to slumber, for 
years and years, amid the dust of libraries is attribn- 

* " Pa66ion-mu8ic." according to the GoBpel of St. Matthew. 



table to the wars and politictl troubles -which burst 
out after his ilecease, and by the sad condition of 
musical matters tor a (ime in Germany. We must 
designate as the real reviver of tha Matllidus- Passion, 
Mendelssohn, who caused it to be performed on the 
11th March, 1829, at the Berlin Sing-academie. 
Since then, the most celebrated vocal associations in 
Germanv have vied with each other in performing it 
annually, with constantly increasing success. Vienna 
alone was left behind, even by many small towns as 
well as by the larger ones, and will not have atoned — 
let us hope in a nianner worthy of her rank — ("or this 
piece of neglect till next Friday, the 18th April, 1862 
at the concert of the Singacadernie. 

Very shortly, we hope to be able to present our 
readers with a musical analysis of the Passion accord- 
ing to St. Matthew, from the pen of a dislinguislied 
critic. As Professor Sterndale Bennett is likely to 
give the London public another opportunity of hear- 
ing tliis great work in the course of the ensuing 
summer, such an analysis will doubtless be perused 
with more than ordinarv interest. — London Musical 
World. 



Psalmody as it Is. 

From Art. " Congregational Psalmody." in April 
'' British Quarterly." 

To observe for ourselves the practical result of the 
increased aggregate of skill and taste in music, wo 
may now enter the congregation. We speak here of 
an averaf>'e assembly ; not of such as are exceptional 
in attainment, or in the want of it. The first iioiice- 
able circumstance is the choice of a tune ; and in 
this, notwithstanding occasional flagrtint mistakes, 
there is usually little room for criticism. Two out 
of the three tunes arc probably in the sterlinjz ehuicli 
mode, while the third, bv concession to a Ifiigeriiig 
prejudice of other times in favor of "somcthinjr con- 
gregational " (so called), proves to be some piece of 
lively prettiness, of secular origin or character. The 
fitting of the tune to the hymn usually shows care 
and thought, hut a still more thoughtful attention to 
the ichole hymn would frequently modify the selections 
made. In the mind of an organist or choir-leader 
accustomed to study sense as well as sound there are 
few hymns in our later voluminous and beautiful col- 
lections that do not seem, by elective afiinity, to mate 
themselves with some special tune. Till this half- 
spiritual branch of musicianship is more generally 
studied there is much to be said for the old custom of 
fixing the relation of certain hymns to certain tunes, 
so that the words should flow into the music by a 
recognized prescription which becomes " second na- 
ture." The hymn, however, has now been read, and 
the people stand and sing. Stand and sing, we said 
— bnt the very first thing that strikes us is the small 
proportion of the people who sing at all, and the still 
smaller numbers of those who sing heartily. The 
latter feature is perhaps consequent on the former ; 
for amidst so many silent or decorously murmuring 
worshippers, any vigorous projection of the voice 
draws the attention which is due to an isolated and 
abnormal fact. This abstinence from audible acts of 
praise certainly does not arise from a too modest esti- 
mate of ability, for facts prove that the degree of 
musical cultivation does not determine the public use 
of the voice. While there are several congregations 
in the metropolis, and two or three in the provinces, 
where the people are the only and universal choir, 
and where the printed notation lies close by the open 
hymn-book in every pew, there are many assemblies 
of unlettered Christians, equally independent of pro- 
fessional help in singing, but to whom the notation 
of their songs would be about as intelligible as the 
musical relics of ancient Greece. The fact is, that 
where the worshipper has a hearty conviction of the 
duty of vocal praise, he may commit many errors, hut 
silence wdl certainly not be one of them. There 
are singers even here, however : children, who have 
not arrived at the age of self-consciousness, and a 
Paterfamilias, who has outlived it, raise their voices 
cheerfully. Even the gentler utterances tell in the 
aggregate, and these, combined with the voices of the 
Snnday-school contingent, and sustained by the more 
methodical and harmonized choir, produce .something 
of that effect which always results from the mixture 
of many tones in octaves and harmonies, and which, 
notwithstanding all irregularities and variations, is, to 
a " true-touched ear," nobler than the most correct 
declamation of a single voice. This is, however, 
comparatively but a crude .and metigro jpdication of 
the choral possibilities of such a congregation. No- 
tice the uncertain and scattered way in which the 
majority of voices drop into the lines, instead of seiz- 
ing promptly and simultaneously the first note of 
each ; then, the drawling way in which too often the 
tune " drags its slow length along," in spite of the 
exertions of the •rganist or leader to quicken it by 



bodily motion, and exaggeration of the accents ; and, 
finally, the level, undistinguishing lone in which are 
sung all the verses of a hymn marked by strongly 
contrasted phases of feeling. It is while noticing 
these things (by no choice ol^ our own) that we feel — 
however great may be the advance of which the signs 
arc visible in many directions — what has yet to be 
done before \\\e practice of this department of public 
worship shall attain to the full dignity of its mran- 
inij. 

We were lately present at a service in a certain 
chapel on the south side of the Thames, where space 
is found for enormous masses of the people, drawn 
together by a great ministerial reputation. It might 
safely be assumed that a large proportion of this 
assembly would consist of persons who ordinarily 
worshipped at other places, the singing habits of 
which tliey woulil carry with them representatively. 
They, atanyrate, lUustraied on this grandest of scales 
the features we ha\ e noted in our average congrega- 
tion, with the OTie exception of timid reticence. Thai 
evil was effectually exorcized by the inspiration of 
the scene. The tunes selected were the Old Hun- 
dredth, and a well-known piece of fugual see-saw, 
Cranbiook. Upon these so vast a mass of tone was 
brought to boar, that each note made wonderful reso- 
nance, and the air of the tune, in the male and 
female octaves, so predominated over the discord of 
iricompatilile " parts," that the effect was virtually 
one of uidson : but tlie inertness of movement, the 
dragging frorn note to note, destroyed all melodic 
character, and eft'ectuaily deadened the feeling of 
joyful praise indicated hy the hymns. Doubtless 
there was enjoyment, of its kind, in holding those 
lonir, full notes in such multitudinous fellowsliip ; — 
as little do we doubt tliat the praise was sincere, and 
the offering accepted ; yet was it strange that we left 
tlie place much musing on what that gigantic instru- 
ment of praise might be and do, if musical intelli- 
gence were blended with religious zeal, and on what 
service mi^'ht be rendered toward that end, if the 
trumpet-voiced preacher would hut essay to smite the 
common conscience with the perception of a slighted 
gift, and of a flawed offering to the Givcrl 



Mendelssohn and Clara Novello. 

The following letter, addressed by Mendelssohn to 
Mr. J. Alfred Novello, the music publisher aud 
brother of the singer, has appeared in London. It 
was written in English. 

Leipzig, 18th Nov. 1837. 

Mt dear Sik: It is now a fortnight since your 
sister first appeared here in public, & directly after it 
I wanted to write to you & give you a full account 
of it & only to day I have leisure enough to do it. 
Excuse it, but although it is late & I m^iy tiiiTlk that 
you have heard already from other sides of all the 
details of her great success here, I cannot help wri- 
tiiiff you also on the subject, & before all I shout 
" triumph " because you know that you were my 
enemy* & that my opinion prevailed only with great 
difficulty (letters included) & that it comes now out 
how well I knew my own countrymen, how well they 
appreciate what is really good <St beautiful, & what a 
service to all the lovers of music has been done by 
your sister's coming over to this country. I do not 
know whether she thinks the same of my opinion 
now. I am sometimes afraid she must find the place 
so very small & dull, & miss her splendid Philhar- 
monic band & all those Marchionesses & nuchesses 
& Lady Patronesses who looked so beautifully, aris- 
tocratically, in your Concert Uoonis, & of whom we 
have a great want. But if being really and heartily 
liked & loved by a public, & being looked on as a 
most distinguished & eminent talent must also convey 
a feeling of pleasure to those that are the object of it, 
I am sure that your sister cannot repent her resolu- 
tion of .accepting the invitation to this place, & must 
be glad to think of the delight she gave &■ the many 
friends she made in so short time & in a foreign coun- 
try. Indeed I never heard such an unanimous 
expression of delight as after her first Recitative, & 
it was a pleasure to see people at once agreeing & the 
difference of opinion (which must always prevail) 
consisting only in the more or less praise to be be- 
stowed on her. It was capital that not one hand's 
applause received her when she first appeared to sing 
" Non piu di fieri," because the triumph after the 
Recitative was the greater; the room rung of applause, 
& after it there was such a noise of conversations, 
people expressing their delight to each other, that 
not a note of the whole ritornelle could be heard ; 
then silence was again restored, & after the air, which 
she really sang better & with more expression than I 

* In allusion to Mr. .T. A. Novello's do.«ire that his sister, 
Miss Clara, should proceed directly to Ituly, and not visit 
Germany. 



54 



DWIGHT'S JOURNAL OF MUSIC, 



ever heard from her, my goorl Loipsic public became 
like mail, & made a most tremendous noise. Since 
that moment slie was the declared favorite of them. 
Tliey are equally delii.'lited with Iier clear cfcyoutliful 
voice & with the purity & jjood taste wilh which she 
sings everything- The Polacca of the Piiritaiii was 
encored, wliich is a rare tliint; in our concerts hero, & 
I am quite sure the lonjier slie stays & the more she 
is heard the more slie will become a favorite ; because 
she possesses just those two qualities of whicli the 
pulilie IS particularly foiul here — purity of intonation 
& a thorough bred musical fcelinn;. I must also add 
that I never heard her to frreator advantase than at 
these two concerts, & tliat I liked her siTiginj; inflnitc- 
ly better than ever I did before: whether it might he 
that the smaller room suits her better or perhaps the 
foreign air, or whether it is that I am partial to every 

thing in this ( ntry (which is also not unlikely), but 

I really thirdv her much superior to what I have beard 
her before. And therefore I am once more glad that 
I conquered you, my enemy. 

'I'hey arc now in correspondence with the court of 
Pessnu & with Berlin, wheitjto they intend to go 
during the intervals of the concerts here; I bojie 
however that their st:iy will be prolonged as much ns 
jiossible. We had Vieuxtemps here, who delighted 
the jMiblic ; we also expect Blagrove in the beginning 
of January. Charles Keniblo witii bis dangbter 
Adelaide passed also by this place, but she did not 
sing in public, only at a party at my bouse. Has 
l\[r. Covcnlry received my letter, and the one for 
Bennett I sent him ^ And have you received the 
parcel with my Concerto, which Breitkopf and Hiir- 
tel promised to send in great haste ? l^o you see 
Mr. Klingemann sometimes ? And how is music 
going on in England ? Or had you no time to think 
now of anything else than the Guildhall-puddings & 
pies & the 200 pineapples which the Queen ate there, 
as a French paper has it? If you see Mr. Attwood 
will you tell him my best compliments & wishes, & 
that a very great cause of regret to me is my not 
having been able to meet him at my last stay iu Eng- 
hind. And now the paper is over & consequently 
the letter also. Kxtuse the style, which is probably 
very German. My kindest rej:ard to Mr. & Mrs. 
Clarke, & my best thanks for the kind letter & the 
papers they sent mc by Mrs. Novello. And now 
good bye & he as well & happy as I always wish you 
to be. Very truly yours, 

Felix Mendislssohn Bartiioldt. 

Jtoig|)fs loiinral of Slwsit. 

BOSTON, MAY 17, 1862. 

Music in this Number. — Continuation of Chopin'a 
Jlazurkaa. 



Church Music. 

The music of our public worship is as much a 
problem and a theme of general complaint as 
ever. AVe speak of the Protestant, and more 
especially the Congregational churches. We 
have indeed but one kind, and that is Psalmody. 
The complaint is that it is dull, humdrum, me- 
chanical ; or else, that it is trivial, feebly senti- 
mental, full of borrowed suggestion from the 
theatre, the ballad singer, the street organ, or 
what not. In short that it is neither artistic, nor 
religious, that it neither charms nor edifies. And 
then again there is so much of it which has ac- 
quired no hallo\;ed, old associations; such hun- 
dreds, thousands of tunes, which are tried on us 
continually, but wliich have in no way taken root, 
have not grown dear to us, have not grown with 
our inward growth, entwining themselves with 
either the private soul's e,\perience, or with the 
religious life of generations. 

In the multifarious attempts to reform this, it 
has been commonly taken for granted that read- 
ing hymns and singing them to psalm-tunes was 
the essential, the indispensable, almost the only 
true and practicable way of making Music serve 
Devotion in the churches. Relief has therefore 
been chieHy sought in continually new psalm 
tunes ; in perpetual variation of the type (short 
and limited as it is) ; in endless multiplication of 



tunes, some mechanically shaped to the 

pattern and the metre, without sense or inspira- 
tion ; some borrowed from sentimental songs, 
from scraps of opera, or tit-bits carved off from 
an instrumental Symphony, Sonata, Quartet, or 
even Overture, and spoiled of course in the new 
setting ; some made from national airs misnamed, 
and so on — until the " Collections " or psalm- 
books in use, or piled up in music shops, actually 
outnumber all the wholesome tunes that ever yet 
took root. So psalmody long since became a 
trade, and a great nuisance ; new books were 
made to stimulate demand for more, and, with 
the ignorant choirs all over our great land, eager 
for novelty, and getting it in name and not in 
substance, in book and not in music, the appetite 
still grew wilh what it fed upon, and psalm-book 
makers still grew rich, while pampered Zion 
(musically viewed), on all this thin cake and con- 
fectionery, with or without sweetening, grew 
lean. Multiplication of psalm-tunes has not 
helped the matter. Stealing " the Devil's tunes" 
and dressing them in psalm shape has not helped 
it either. Clipping a lock from Beethoven's rich 
held, or Mozart's, has not availed to hide the 
baldness of this poor old worn-out wooden man- 
nikin. 

Other reform has been sought in the mode of 
arranging, harmonizing, or in the mode of sing- 
ing the psalm-tune. Singing by the whole con- 
gregation, mere melody in unison, or in parts; 
singing by a select choir, of chorus size ; singing 
by a quartet choir, — all have their advocates, 
their turns of trial, — and not much has come of 
it. The congregations cannot sing ; will not try 
hard enough to learn ; or the bent should have 
been given in the young sapling; the children 
should have grown up singing and knowing a 
good round of tunes by heart, as they do in Ger- 
many. The Quartet may make exquisite music, 
on which the listening |soul may float up heaven- 
ward ; and it offers the advantage, that societies, 
by paying well, can perhaps secure four tuneful 
voices which have some pretention to the title of 
artistic. It depends on circumstances, on the 
" music committee," the musical director, who is 
commonly the organist, on there being some 
inspiring and controlling head of the right sort. 
But then what waste of art it often seems, to bring 
together such choice forces merely to sing the 
contents of the everlasting although ever-varying 
psalm-book ! Will all the polish make a diamond 
of the old thing ? 

So the people get uneasy. They have a cer- 
tain pleasure and a pride perhaps in a favorite 
voice or two : admire that ; think more of the 
singer personally, and forget why she is supposed 
to sing — (which is not exactly religious^, but 
they are not satisfied. Having strayed into a 
Catholic church upon a feast day, they have 
been delighted and transported by the sensuous 
splendors of a mass, with its soaring Gloria, its 
solemn Crucijixus, its deep and tender Agnus 
Dei, its lovely Benedictus, its florid Amens and 
liosannas, and perhaps with orchestra, and return 
sicker than ever with their own homely, hum- 
drum psalm tunes. Why cannot we have some- 
thing of th^ sort ? they ask ; or at least some 
stirring anthems, full of solos and of contrasts, or 
air episcopal Te Deum, or a qnartet or chorus 
now and then out of a Mass or Oratorio ? — any- 
thing to relieve the everlastiag " penny-royal " 
long, short, common and particular ? 



There is at least some musical aspiration in all 
this uneasiness, although it knows not what it 
wants. If it only wants to be amused, to find a 
new ffisthetic gratification, in place of emptiness 
and dullness under pretext of sanctity, — why 
even that were better than the dullness, because 
more alive and real, and therefore containing 
some religious possibilities. And no doubt much 
of this coveted fine music, allowing for much also 
which is secular and showy, does spring from and 
appeal to really spiritual instincts, is religious in 
its tendency. But it requires a true taste, a wise 
leader to distinguish and select. And then comes 
the consideration of means, or practicability. A 
few random experiments only light lamps which 
refuse to burn. One by one the little move- 
ments die out. The old habits and traditions of 
the meeting house, the elders' love of psalmody 
because it was the whole of music to their young 
days; the choristers' love of singing it, an idle 
love, simply because they can sing it — books 
being cheap, parts easy, and a new book every 
year, demanding no new skill or knowledge — • 
after all prevail, just as they always have pre- 
vailed, and the thing goes on in the same hope- 
less humdrum wa}'. 

Now there are psalm tunes which are dear to 
all Protestant hearts, through generations ; there 
are tunes which have taken root in the religious 
instincts and experiences that do not change ; 
tunes which are sacred, solemn, joyful, full of 
humanity and full of heaven, and in which the 
soul comes nearer God, and all souls nearer to 
each other. But these are few in number, com- 
pared with the great ma.ss in our " collections." 
Those which fulfill these conditions could be con- 
tained in a small book, and printed very large 
and plain at that ; perhaps they could even be 
counted on the fingers : — those, we mean, which 
have actually taken hold of the general religious 
heart or want, which have become part of the 
religious life of the people, as the national songs 
have become part of the patriotic life. Banish 
all the tunes that are maudlin and sentimental, 
or tainted with secular associations, or mechani- 
cally manufactured with no touch of inspiration, 
or borrowed from strange sources (opera, ballad) 
symphony, or what not) and spoiled in the bor- 
rowing, like a tree trimmed to a window and a 
flower pot, or merely prompted by a foolish vani- 
ty of composition on the part of some one who 
does not know how to write two bars grammati- 
cally, or only turned out for the market by some 
labor-saving mill, or altered not for the better 
from old ones, — and shall we not be astonished 
at the small number lefl ! These few, under cer- 
tain conditions,psalm-tunes as they are,might form 
a sound and satisfactory basis for a live, progres- 
sive, sacred, beautiful church music ; so that, in 
the want of greater means, this little should be 
loveable and to the purpose. Loveable we say, 
for the music which is only admired, not loved, is 
not yet religious. The conditions are, either: 1. 
that these tunes be so fully in the heads, and 
hearts and voices of the whole people, young and 
old, that all can join in singing them in simple 
unison, leaving all harmony and other illustration, 
interlude, &e., to the organ, which demands skill 
and musicianship in au inverse ratio to this 
simple function of the people ; or, 2. that, if sung 
by a choir or quartet, they shall be so purely 
harmonized in parts, with such vital, easy indi- 
vidual movement in each part, that they shall 



BOSTON, SATUEDAY, MAY 17, 18 6 2. 



55 



acquire a certain inexhaustible beauty; the plain 
tune being as it were transfigured and set in the 
high heaven of poesy and Art, so that it can 
never become common-place and hacknied (take 
for a model the Chorals harmonized by Bach). 
Either of these two things, or better still the two 
combined, or rather alternated, would be worth a 
tliousand ambitious attempts striking out blindly 
ill all directions. 

But the trouble is, tliat the congregations are 
not trained to sing, and the tunes sung by choirs 
are in most cases miserably harmonized, so that 
the thing is tame and characterless ; we turn for 
comfort from the thing sung to the voice that, 
sings it. 

Now is there not a music, simple, pi'acticable, 
real in its origin, essentially sacred, born with 
the birth of Protestant worship, and one with its 
whole spirit, just as essentially as the Anbrosian 
and Gregorian " tones " are with the Catholic ; 
alreadj- existing both in the simple tune form 
and in such polyphonic Art-transfiguration, as we 
have described ; out of which too our own live 
" psalm-tunes " have derived their root ; and 
which may profitably be made the basis of an 
experiment of better music in our churches, the 
staple of the musical service, yet capable of in- 
definite development into more rich and complex 
forms, as means and culture warrant ? 

We think there is ; that it exists already in 
the German Choral, and the inspired illustration 
of its intrinsic power and beauty by Skbastian 
Bach. How these may be applied, it shall be 
our task in another article to show. 



On Criticising Classical Music. 

New York, May 14, 1862. 

Your slricturcs upon our views of Schubert's Sym- 
phony in C call for a few words in extenuation. A 
fair and impartial criticism now-a-days, of classical 
music is diflRcult in the extreme, and one who can- 
didly expresses an opinion averse to that of master 
minds of the Old World is looked upon as an impla- 
cable enemy, and is caviled and sneered at by all 
"true lovers" of classie.«il music. 

While we have no desire to deride or underrate 
(pardon the egotism) the mature and well-bahinced 
opinions of those whose own works are living monu- 
ments of their genius and greatness, and around 
whose names cluster memories of triumphs and 
honors, yet we believe in, and advocate the justice 
and propriety of, a free expression of opinion, even 
if it be a dissenting one. 

Classical music — and by this we mean the works of 
Mendelssohn, Schumann, Schubert, Beethoven and 
the like — is with us in a great measure an experiment, 
and our views ifzusJ differ from those of persons whose 
minds and tastes have been formed and cultivated in 
the schools of the great masters. The beauties and 
charms of this description of music are often imbed- 
ded in the intricacies and puzzling labyrinths of bril- 
liant instiumentation and require a very keen per- 
ception, combined with a unity of taste and an op- 
portunity for a frequent hearing, to discover and ap- 
preciate them. 

To criticize a great work like Schubert's Sym- 
phony in C, with the mere superficial knowledge de- 
rived from a first hearing, would be simply ridiculous, 
were it not tliat its very rare performance requires 
the expression of " first impressions." 

Is it not natural then that a movement carrying 
the theme smoothly along without twisting and wind- 
ing it, as if to drown it in the gnand clash and uproar 
of a hundred instruments, should be more appreciated 
than those compositions, grand and meritorious 
though they be, that require skilful tracing — a sort 
of musical surgery ? 



We can give no scientific reason why the Andante 
con moto of Schubert's C Symphony w.as so electric 
in its effects, save that its melody and theme were of 
that sympathetic nature that always charms and cap- 
tivates the hearer. 

Do not think us as throwing down the gauntlet 
and inviting a tilt, as to the merits of a composition 
that is quite new to us. A very limited knowledge 
of the matter now in dispute is our first plea, and 
our second and strongest, the strength and ability of 
our antagonist, who is the ackuowledeed champion 
of classical music in America. With such odds 
against us we would find ourselves unhorsed and dis- 
armed before we had poised our lance. 

Our " first impression " and that of many of the 
habitutfs of tlic Philharmonic (for the topic has been 
oft mooted) were coincident with yours. " Over- 
labored, forced, ambitious," Schubert's Symphony m 
C seems to be after the first hearing. T. W. M. 

Our correspondent of course has a right to the free 
expi'ession of his opinions and impressions ; and ire 
have the right to enter our i)rotest together with 
whatever we print that stems to us mistaken, or 
to convey a false impression of the tone and spirit of 
this journal. 

The last paragraph but one of the above is quite 
too flattering. The last shows that the writer has 
entirely n>isrcad our meaninir; "over-labored, forced, 
ambitious," were not given as our own impressions ; 
we expressed quite the contrary. — Ed. 



For Male Part-Singers. 

Ario7i : a collection of four-part Songs for male voices, &c. 
Compiled by .ToHN D. Willard. 

Here is a good want well met. Our German 
fellow citizens (have they not made us all proud to 
call them so of late 1) have by their singing clubs, 
"Liedertafel," " Miinnergesangvereins," &c., opened 
to our people a new and beautiful resource for leis- 
ure hours, if we will imitate them. The part-songs 
of the " Orpheus," in club-room, concert-hall, sere- 
nade, or picnic in the grove, are a sure delight to all 
listeners. And how simple the whole thing seems ! 
Why cannot our own young men, our students in col- 
leges, our 3'oung merchants, clerks, mechanics, onr 
soldiers in the camp, even onr do-nothings, learn to 
sing part-songs, and taste the pleasure and the soul 
refreshment of such refined and innocent conviviali- 
ty ? We believe they can, and are already doing it ; 
that there already is a wide demand for good part- 
songs to practice among speakers of the English 
tongue. 

For such Mr. Willard's little set of books comes 
timely and will be very serviceable. Imitating the 
plan of the convenient little pocket volumes, which 
have appeared in Germany and England, he has 
given us, in much cheaper form, in five neat little 
volumes (one for each of the four parts, and one col- 
lecting the four under the two hands of the pianist, 
or the eye of the conductor) the cream of various 
collections. The 60 or 70 pieces embrace about all 
the favorites sung by our " Orpheus," besides many 
more, and cover a wide variety of composers, styles 
and subjects. Mendelssohn is well represented, but 
less largely than he would be, because we have al- 
ready a complete American edition of his part-songs. 
Weber's thrilling " Sword Song," " Battle Hymn," 
his lovely "Slumber Song," and his mellow quartet 
of horns from Frei/schiitz, set to sunset verses, are 
found here. The best things by Kreutzer, Otto, Aht, 
Kiieken, Zollner, Marschner, &c., are given. The 
fine easy Latin things for students : Integer vitif ; 
Gaudeamus igitur, &c., are not neglected. 'There are 
also some from Enghsh, French, and Italian compos- 
ers ; one from Macfarren's " liobin Hood," one from 
Ilossini's Compte Ory, &c. In short a choice and 
rich variety, from grave to gay, and from easy to 
quite difficult. There is food enough for many a 
sweet winterer summer evening in these little books. 



Orchestral TJnion. 

The fifteenth Afternoon Concert took place on 
Wednesday, with a large audience, if we count in 
the talkers, gadders and new bonnet showers, which 
which would be a misnomer. The programme was 
as follows : 



1 Concerto OTerture — to "Yelva," Iteissiper 

2. \\n\t7. — '' Promotionen'' Strauss 

3 ^3-niphniiy, No, 6 — "Pastorale.'" Beethoveu 

1. Allegro ina non troppo. 2. Andante molto moto. 
3 Allef^ro a la Minuetto. 4. And Allegro Finale. 

4 Violiu Solo — ''Souvenh-s de Mozart," Alard 

Mr. C. Meisel. 

5 Terzetto and Finale, from Lucretia Borgia 

6. Gypsey Quadrille Strauss 

Tile Overture to I's/yrr .quite a dramatic and impas- 
sioned prelude to what dark history we know not, has 
a good deal of beauty, which was well brouglit out.' 
The " Pastoral Symphony" was much enjoyed, no 
doubt, by those so fortunate as not to sit amid a nest 
of rufle, ill-mannered talkers, who set up the right of 
talking and laughing as airainst the right of listen- 
ing, and who thiidc it spirited, genteel, or what not, 
to resent any remin'ler ttiat. ihcy are distuibinu: others. 
But the Sympliony still makes way into the he.Trts of 
inoie and more. in spite of these butterflv Philistines. 
Mr. Meiskl's solo, in which snuvcnii's of .Mozart 
emerged from a background anything hut Mozarlish, 
was very skillfully performed. The principal souv- 
enirs were the first Allegro theme from tlie G minor 
Symphony, then La ci darem, bedevilled, Frenchified, 
witli variations. 

The last of these pleasant concerts is postponed to 
Wednesday, May 28, on account of the hall being 
occupied for the School festival next week. 

A Musical Service will l)e given in St. Paul's 
CInirch next Monday evenino-, uuflcr the direction of 
Dr. S. P. TucKEi!M,\N, in which specimens of church 
music from the fonrih to the nineteenth century will 
be presented. Dnrini; the evening the famous 
" Miserere " of Allcgri will he suuir. The pro- 
grammes will contain full descriptions of the differ- 
ent pieces. Music to commence at 8 o'clock. 

The stnjyjng which had sprung up around the 
orclicsti-a, at the Music Hfdl on Wednesday afternoon, 
creeping up above the highest gallery, gave signs of 
the approaciiino; annual musical Festival of the 
Boston Public Schools, which takes place a couple 
of months earlier this year than it it did fijrmevly, 
namclv next Wednesday, tlie 21st of May. Happy 
will they be who get tickets of admission. 

Miss Lizzie Chapman announces a concert for 
next Saturday evening, with the assistance of Mr. 
B. J. Lang, Mr. Whitney, and the Mendelssohn 
Quintette Cldb. At Mr. Zerrahn's concert, 
and still more in the airs of the " Creation," 
Miss Ch.apman created a favorable im|)ression, and 
showed evidence of careful training. She is deserv- 
ing and shoidd receive the encouragement of a full 
house. 

liiiiit^ ^ ^ ^ • 

London. 

IJoYAL Italian Opera. — Ln Favorita, without 
i\tnrio and Grisi, loses much of its charm for the 
English public, who have been so long accustomed 
to associate them with the hero and heroine of Doni- 
zetti's best French work. Nevertheless, the perform- 
ance at the Royal Italian Opera which actual condi- 
tions render possible is by no means destitute of at- 
tractions. Mile. Csillag's Leonora is one of the 
most thoughtful and carefully finished of that very 
clever ladv's assumptions. Like all she attempts, it 
is marked throughout by earnestness and strong dra- 
matic feeling ; and if it does not at all times go so 
directly to the hearts of the audience as to induce 
them, at the conclusion, to absolve the repentant 
"Favorite," and endorse the forgiveness of the 
wronged and unhappy Fernando, this must be laid 
to over-anxiety on the part of the Teutonic song- 
stress, who, by studiously elaborating every scene, 
leaves a certain impression of artificiality, rather than 
to any shortcoming in her musical delineation of the 
part. The interest she creates is vivid, if not pro- 
found ; and we quit the theatre under the persuasion 
of having witnessed a remarkable exhibition of artis- 
tic skill, if not precisely one calculated to raise those 
emotions which it is only in the province of genuine 
sensibdity to inspire. Sig. Neri Baraldi might reas- 
onably lay claim to indulgence as having undertaken 
the character of Fernando at an unusually short 
notice, in consequence of Sig.Gardoni's indisposition. 
Happily, however, he stands in need of no apology, 
the manner in which he acquitted himself entitling 
him to the most favorable consideration. M. Faure's 
Alphonso is in the truest sense a kingly impersona- 
tion ; nor could the beautiful air " A tanio Amor" 
("Pour tant d'amour"), in which the hypocritical 
monarch beguiles the unsuspecting hero whom he 
dearades while feiirning to honor, be more admirably 
delivered, or more thoroughly have justified the 
" encore" that usually awaits it, and which, though 
declined by the singer on the present occasion, was 



56 



DWIGPIT'S JOUKNAL OF MUSIC 



Tiaturally not withheld. Sig. Nanni, a new comer, 
has at least one requisite for the part of Baklasare, 
the priest — that of a deep and sonorous bass voice ; 
but he must be judored of definitivei}' in a part where 
there is something besides mere declamation to test 
his capabilities. 

On Saturday night Mr. Santley made his second 
appearance as Conte di Luna, and fully established 
his success. 

The present week at the Italian Opera has been a 
busy one. On Monday ffirst "extra" ni^ht) CnU- 
lanme Tell (fourth time) was represented, Mr. Gye's 
"Easter-piece." The " great temple of the lyric 
dram.a" (contrary to precedent) opened its door-i at 
the very commencement of the Easter hnlydnys. 
That the ma<;niHeent Opera of Guillaume Tell, with 
its picturesque incidents, still more pictnresque scen- 
ery, and, most of all, picturesque music, superbly 
placed upon the stage, and sung and played as the 
puiilic have been taught to expect at Covcrit Garden, 
would suffice to enchant without the adventitious aid 
of fairv tale, burlesque, or melodrama, might have 
been taken for granted. Happily, not alone the 
chorus and orchestra— which have rarely shown to 
greater ailvantage in the opera, so full of varied 
choral effect and bright orchestral coloring — but the 
principal singers before the lamps were in the best 
possible mood; and thus the Easter audience enjoy- 
ed such a musical treat as it is not on every occasion 
vouchsafed to those who attend on ordinary Opera 
nights. The great second act, in which the repre- 
sentatives of the four Cantons assemble on the banks 
of the lake, to swear the oath of patriotism and lib- 
erty, has, perhaps, never been more striking. Mad. 
Miolaa Carvalbo gave the music of iMathilde better 
even than usual. In the ti'io for Arnold, Tell, and 
Walter — the finest piece of concerted music in the 
opera — Siir. Tamberlik almost surpassed his previous 
efforts, imparting a force and pathos to the slow 
movement, and a liery vigor to the alleqro, which 
made every note and every accent tell with thrilling 
effect. He was supported admirably by M. Faure 
and M. Zelner, who in the swearing of the Cantons 
were as dignified and imposing as ever. The 
whole scene was what it rarely fails to be at this 
theatre — a scenic and musical triumph ; and the cur- 
tain fell amid loud and unanimous plaudits. Mr. 
Costa presided in the orchestra. On Tuesday, La 
Fuvorita was repeated ; and on Thursday the Pro- 
phele was given for the first time this season, with 
Mad. Csillag as Fides and Sig. Tamberlik as Jean 
of Leyden. The "spectacle" presented all the gran- 
deur of former years, and the magnificent music was 
listened to throughout, by a crowded audience, with 
unabated mterest. 

Inteknation.1L Exhibition. — The musical ar- 
rangements for tlie opening seem to be on the same 
grand scale with those for the Handel Festival at the 
Crj-stal Palace. The correspondent of a Montreal 
paper writes : 

The great orchestra erecting under the eastern 
dome is by far the largest ever built in this country. 
It will accommodate upwards of 2000 performers. 
Projecting 60 feet under the dome, it extends the 
whole width thereof, rising above the gallery to a 
considerable height in front of the under part of the 
round stained-glass window over the eastern entrance. 
The lower 13 rows of this great staging will be oc- 
cupied by the instrumental portion of the orchestra, 
the upper 26 rows by the chorus. Exclusive of the 
side portions in the galleries the width of the orches- 
tra is 135 feet. The instrumentalists employed on 
this occasion will be about 400 in number, including 
all the leading professors and many amateurs of 
talent. There will be 196 violins and violas, 90 
violoncellos and double basses, with about 112 wind 
instruments, drums, &c. The lists of performers 
have been carefully revised by Mr. Costa, and there 
is no question that it will be one of the finest bands 
ever brought together. The chorus will comprise 
about .500 voices to each of the four parts. Besides 
the chorus of the Sacred Harmonic Society, a con- 
siderable number will brought from various provin- 
cial choral societies, cathedral choirs, &c., through- 
out the country ; Birmingham and the midland dis- 
tricts, Bradford and the Yorkshire districts, Liver- 
pool, Manchester, Canterbury, Ely, Norwich, Ox- 
ford, Gloucester, Lincoln, Nottingham, Bristol, 
Hereford, Chester, Edinburgh, Exeter, Wells, Wind- 
sor, Newcastle, Glasgow, Peterborough, Winchester, 
Aberdeen, Dublin, &c.. will all contribute their quota, 
it having been an object of special interest to the 
commissioners to give a fair representation at this 
great musical concourse to the various provincial 
towns. The remainder of the chorus will be .selected 
by ballet from the members of the Handel Festival 
Choir, their complete organization and constant prac- 



tice under Mr. Costa rendering them a most efEcient 
body of choralists ready to hand. 

PoSEN. — Herr Hans von Biilow and Br. Leopold 
Damrosch gave a concert on the 5th inst. The lat- 
ter gentleman, although a native of the town, and 
formerly a pupil of Herr Fiohlich. once a fashiona- 
ble local teacher, was professionally unknown, and 
great curiosity was manifested to hear him. The 
concert opened with Beethoven's Kreutzer Sonata. 
Herr von Biilow and Dr. I)amrosch then j^Iayed 
Franz Schubert's magnificent duct in B minor, 
which was wai'mly applauded. Herr von Biilow 
f )llowed with a series of dances, nrransred in cliron- 
ologicnl order, and ending with Chopin's " Taran- 
tella " and Liszt's " Valse impromptu." There were 
various other instrumental pieces of more or less 
importance. Mile. Marie Holland, of the opera, was 
the vocalist. A course of four conceits was laNdy 
given, in the large room of the Bazaar, by Herr 
Bilse, from Leignitz, with his own orchestra. The 
attendauce was extremely good. 

KoENiGsnERG. — Herr Kuster's oratorio, Uieewlrje 
Heimntli, was performed by the Gesangverein, under 
the direction of Herr Weigers, on the 8th inst. 

Baden-Badkn. — The subject of Berlioz's opera, 
composed for the opening of the new theatre, is 
taken from Shakespeare's comedy of Miteh Ado about 
Nothhiq. The second noveltywill.be the opera of 
ErostrrUes, by Herr M. E. Reyer. 

Dresden. — On Palm Sunday, Chernbini's 7?c- 
riniem and Beethoven's Ninth Symphony were per- 
formed at the Theatre Royal, "f here were, daring 
the past theatrical year, 339 performances at this 
establishment, and they consisted of — 172 oper.atic 
re[>resentations, including II given by the Italian 
company, under Sig. Morelli ; 26 representations of 
farces and pieces interspersed with songs ; 209 of 
dramas and 13 of ballets. There were 24 novelties, 
of which 5 were operas, vaudevilles and firces ; 19 
dramas ; and 2 ballets. In the way of revivals, 
there were 9 operas, 11 dramas, and 1 ballet. 

Stuttgart. — At the Seventh Subscription Con- 
cert, in the Kiinigsbau, Schumann's Parudies nnd 
Peri, which is a novelty here, was performed with 
success. M. Molique's Oratorio of Abraham was 
given on Palm Sunday. 

Munich. — Sophocles' Antic/one, with Mendels- 
sohn's music, has been revived. The house was 
crowded in every part, and the applause both loud 
and frequent. 

Rome. — After working on them many years, M. 
Mathiii, one of Thorwaldsen's best pupMs, has just 
completed the busts of Beethoven, Gluck, Mozart 
.and Palcstrina, together with the appropriate con- 
soleSj for the Grand Princess Helena of Russia. The 
bust of Beethoven is supported by Zeus ; that of 
Gluck, by a figure of Psyche ; that of Mozart by 
the three Graces ; and that of Palestrina, by singing 
angels. 

Florence. — A correspondent of the Athenaeum 
writes : 

" Our Lent season opened with one of the best 
concerts which Florence has seen for many a year 
past, given at the Philharmonic Rooms, by Mr. M. 
Jacques Bluraenthal, who has made this city his 
home during the last two winters. Somehow or 
other, the taste of the Florentine public does not 
greatly incline to concerts, and even in Lent they 
seldom obtain much success, especially now that 
three or four theatres are nightly open, even though 
the Carnival season has ended — a change which 
dates only from the fusion of Tuscany with the other 
Italian provinces. The concert opened with Beet- 
hoven's Sonata dedicated to Kreutzer, performed by 
M. Blumenthal and the Florentine violinist, Signor 
Giovacchini. With this one exception, the piano- 
forte pieces executed by M. Blumenthal were all of 
his own composition. Among the morceaux perform- 
ed by him were two musical novelties as yet un- 
known on the other side of the Alps : 'Le Parfuni,' 
an elegant notturno, full of that dreamy Sehnsucht 
der Liebe which is one of its composer's most success- 
ful moods, and ' Fuqgianio nel deserto," a charming 
paraphrase of a fresh Capriote ditty. Madame Al- 
bertini Baucardd and Mdlle. Anna Regan, a dSu- 
tante who has studied under the artistic training of 
Madame Ungher-Sabatier, took part in the concei't. 
A good buffo singer, Signor Matioli, also contribut- 
ed to the musical bill of fare, and was especially ap- 
plauded for the finished comic verve with which he 
gave a composition of his own, ' Un fatale Giovedi." 



'ptial Retires. 



DESCRIPTIVE LIST OF THE 

L -A. T E S T 3VE TX S I O 
Publialied br Oliver DitMOii Sc Co. 



Vocal, with Piano Accompaniment, 
The Cruiskeen Lawn. Song and Chorus. 25 

This sweet old Irish ballad has heeo introduced by 
Benedict into his new Opera of the "Lily of Killar- 
ney;" thus imitating the example of Flotow, who 
introduced " -Tis the last rose of summer," into his 
opera of Martha. The Chorus may be sung by four 
voices, or the melody of the Chorus continued as a 
part of the song. 



Idle fanes Sonjr. 



77. .7. Wiesel. 25 



A song of unusual merit, and eyincing on the part 
of the composer genius of no common order. 

Instrumental Music. 

The Battle of Shiloh or Pittsburg Landing. 

Ch. Grobe 60 

The talented author has here represented two Pho- 
tographs — one for the eye, and another for the ear. 
Upon the outside is a representation of the second 
day's battle, at the point of time when that terrific 
onset by the combined divisions of the Federal army 
occurred. The perfectly gallant, but pomewhat reck- 
less, General Grant is conspicuously seen urging with 
voire and gesture the movements of our brave soldiers. 
The musical photograph is equally spirited and inspir- 
ing. To represent by a Piano an actual battle, seems 
almost ridiculous, but it has been asserted that many 
who were at the battle of Prague recognized in the 
musical description so admirably rendered by Kots- 
wava, many strains and passages familiarized to their 
ears in the actual encounter. Mr. Grobe seems to 
have been inspired in the composition of this descrip- 
tive piece, and if any fair lady desires to know what a 
battle really is, we recommend her to preserve and 
study this remarkable composition. 

Thou art so near and yet so far. Transcription. 

B. Richards. 35 
Another Piano gem by the author of the fascinat- 
ing " Warblings at eve." 



La Maltaise Pplka. 



A. WoUenstdn. 25 



A brilliant and refreshing Polka, and one sure to 

please. 

On this day of joy delicious. Barcarole from 

the " Sicilian Vespers." A. Bawnbach, 35 

Then you'll remember me. From " Sonnam- 
bula." Do. 35 

Two well known opeiatic airs, transcribed for the 
Piano by this eminent teaxsher and composer. 

Books. 

Arion : a collection of four-part songs for male 
voices, in separate vocal parts, with score. 5 
Vols, bound in cloth. $3,00 

The want of a good collection of four-part songs for 
men's voices has long been felt, and has been amply 
supplied in this work. Many of the finest gems that have 
hitherto remained untranslated, and therefore known 
only to the German societies, are now produced for 
the benefit of the many quartette cluha that exist in 
this country, who will be glad to add so many good 
things to their stock. Care has been taken to give a 
large variety from grave to gay, and to include noth- 
ing that is not really good. It is published in a moat 
convenient form with each part separate, and a score 
for the use of the leader in rehearsal. The style in 
which it is published, the excellence of the music, 
and the low price, all combine to render it most worthy 
of the attention of all amateur quartette clubs. 



Music by Mail. — Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a savins' of time and expense in obtaining 
supplies. Books «an also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
miles; beyond that it is double. 





0unial rrf 




Whole No. 529. 



BOSTON, SATUKDAY, MAY 24, 18 6 2. 



Vol. XXI. No. 8. 



Translated for this JournaJ. 

From Felix Mendelssohn's "Travelling- 
Letters." 

fContinued from page 51.) 

Paris, Dec. 19, 1831. 

Dear Father ! 

Accept my heartiest thanks for your letter of 
the 7th. Although in some points I do not so 
entirely understand your meaning, or think dif- 
ferently, yet I hope that that will all come right 
of itself, when we talk more about it, and that 
you will allow me, as heretofore, to express my 
views frankly. I allude to the idea, which you 
suggest to me, of getting a libretto made by a 
French poet, and of composing a translation of 
it for the Munich stage. * 

First of all I must tell you, how heartily sorry 
I am, that you have not opened your views to me 
on this point until now. I was in Dusseldorf, as 
you know, to talk with Immermann about the 
matter ; he was quite willing, undertook it, and 
has promised me the poem at the latest by the 
end of May ; .so I do not see how it is possible 
for me to draw back ; nor do I desire it, since I 
have confidence in him. I could not possibly 
imagine what you meant in your last letter about 
Immermann and his incapacity to write an opera. 
Although I cannot thus far share your opinion, 
yet it would have been my duty to do nothing, 
until you had expressly shown yourself to be of 
one mind with me ; I could have ai-ranged the 
thing by letter from here, &c. But I believed 
that I was acting to your entire satisfaction, when 
I made known my wish to him. Besides, I had 
convinced myself, by some of his new things, 
which he read to me, that he really was a poet ; 
then again, other things being equal, I should 
always decide rather for the German, than for 
the French text ; and finally, he has taken a 
subject, which had long been in my mind, and 
which (if I am not mistaken) mother wanted for 
an opera : Shakespeare's " Tempest." So I was 
very glad about it, and I should doubly regret it 
now, should you not sanction what I have done. 
At all events I beg you, not to be displeased with 
me for this ; especially not to become mistrustful 
of the work, or lose your pleasure in it upon this 
account. From all I know of Immermann, I 
have reason to expect an excellent libretto. 
What I said of his solitariness, refers only to his 
inner life and occupation ; for the rest he knows 
very well how it goes in the world, what the 
people want, how much it will do to give them — 
but above all he is an artist ; that is the main 
thing. I need not say, though, that I neither can 
nor will compose to any text, which I do not con- 
sider good, and which does not warm me up. But 
to this it is very essential, that you should be 
agreed with me. I shall think it over carefully, 
before I begin upon the music ; and of course I 
shall at once communicate to you the dramatically, 
interesting, or (in a good sense^ the theatrical 

* During his stay in Municlj Felix Mendelssohn had been 
commissioned by the director, to compose an opera for the 
Munich theatre! 



part of it ; in short shall treat the thing as seri- 
ously, as it deserves. But the first step is taken, 
and I cannot tell you how sorry I should be, not 
to have your approval. 

But one thing consoles me, namely, that .so far 
I must say to myself, that I should act just so 
again, if it depended freely on myself, although 
I have now learned to know much of the French 
poems, and in the best light. Pardon me if I 
speak just as I think about it. To conjpose a 
French text translated, seems to me on several 
accounts impracticable. In the first place it 
seems to me as if you approved them more ac- 
cording to the success they have, than according 
to their real ivnrtli. I remember too how dissatis- 
fied you were with the subject of Masaniello, a 
mute led astray, of the WiUiam Tell, which is 
made elaborately tedious, &o. But the success, 
which they have throughout Germany, certainly 
does not depend on the fact that they are good, 
or dramatic, for " Tell " is neither of the two, 
but upon the fact that they came from Paris and 
have pleased there. Decidedly one way to re- 
cognition in Germany, is that which lies through 
Paris and London ; but it is not the only way ; 
this is proved not only by the whole of Weber, 
but also by Spohr, whose Faust is now counted 
here as classical music, and is to be given the 
next season at the Grand Opera in London. 
Nor could I take that way in any case, since my 
grand opera is bespoken for Munich, and I have 
accepted the commission. So I will try it in 
Germany, and there stay and work, so long as 1 
can work and maintain myself there, for that in- 
deed is the first dutj'. If I cannot do that, then 
I must off again, to London or to Paris, where it 
goes easier. But if I can do it in Germany, I 
see to be sure how much better one gets paid, 
how much more honored elsewhere, and how 
much more freely and gaily he may live, where- 
as in Germany he must continually labor and 
make progress, and must never rest. And I 
hold to the last. Not one of the new librettos 
here, brought out upon the stage for the first 
time in Germany, would according to my convic- 
tion have had the slightest success. Besides, the 
main point with them all is just one of these 
which, although the times demand it,and although 
I perfectly well see, that on the whole one must 
go ^vith the times, and not against them,— one 
ought directly to oppose : it is that of immorali- 
ty. When in Robert le diable the nuns come one 
after the other and try to seduce the hero, until 
the abbess finally succeeds ; when the hero comes 
by magic into the chamber of his beloved, and 
throws her upon the ground, forming a tableau, 
at which the public here claps, and will perhaps 
clap in imitation through all Germany, and then 
when she entreats him for mercy ; when in an- 
other place the maiden undresses herself, while 
she sings a song about how she is to be married 
about the same time on the morrow — it makes 
an effect, but I have no music for that sort of 
thing. For it is vulgar, and if the times desire 



it and find it necessary, I will write church 
music. Besides, another reason occurs to me, 
why it is impracticable, namely : no French poet 
will be found to undertake it. It is not easy to 
obtain a libretto from one of them for the stage 
here ; for all the better ones are overloaded with 
orders. Yet I think that I might at some rate 
procure me one. But to write a libretto for a 
German theatre, is a thing that never would occur 
to them. In the first place it would be so much, 
nearer, to give the opera here, and would also 
be so much more rational; in the second place, 
they would be unwilling to write for any other 
theatre than the French, because they can hardly 
conceive of any other. But principally it would 
be impos.sible to procure for them such a remun- 
eration, as they draw from the theatres, and from 
the part d'auteur. 

But now pardon me for having expressed my 
opinion in so outright a manner. You have al- 
ways allowed me to do so in our other conversa- 
tions ; so I hope you will not take it ill of me 
this time, and will correct my view by imparting 
to me your own. Your Felix. 

Paris, Dec. 20, 1831. 

Dear Rebecca ! 

Yesterday I was in the Chamber of Deputies , 
and I must tell you about it. But what is the 
Chamber of Deputies to you ? It is a political 
song, and you would rather know whether I have 
made any love songs, or bridal songs, or wedding 
songs. But this is indeed bad ; none but political 
songs are composed here ; I do not believe that I 
ever in ray life have passed two such unmusical 
weeks, as these ; it has seemed to me, as if I 
never should think again of composing ; this all 
comes of iX^e juste milieu ; but it is only when one 
is with musicians, that it becomes really bad, for 
they do not wrangle about politics, they wail 
over it. One has had his place taken from him, 
another his title, a third his money ; and this all 
comes, as they say, of the milieu. So yesterday 
I saw the ^'■milieu" ; it wore a light grey overcoat 
looked noble, and sat at the head of the Ministe- 
rial bench. But it was very sharply attacked by 
M. Mauguin, who has a long nose. Seriously 
you care nothing for that, it cannot help you at 
all. I must chat with you for once, and if I was 
lazy in Italy, wild student-like in Switzerland, 
a putter away of beer and cheese in Munich, so 
in Paris I must be a politician. I wanted to 
make many Symphonies, and songs for all sorts 
of ladies in Frankfort, DUsseldorf and Berlin. 
But so far it is out of the question. Paris crowds 
upon me, and since before all things I must now 
see Paris, I just see it, and am dumb. 

Besides, I am cold ; that too is a pity. The 
little room cannot be heated, and not until new 
year's day can I get another, which is warm. In 
such a little, dark hole on the ground floor, look- 
ing upon a small, damp garden, where one's feet 
are cold, who can make music ? It is bitter cold ; 
an Italian, like me, is doubly sensitive to it, and 
out there some one is singing a political song to 



68 



DWIGHT'S JOUENAL OF MUSIC, 



the guitar. |For the rest I live like a heathen 
at noon and evening out ; to-day at Baillot's, 
to-morrow at a familvwho are friends of the Bigots, 
day after to-morrow Valentin, on Monday Fould, 
Tuesday Hiller, Wednesday Gerard, and so it 
was all last week. In the forenoon I run to the 
Louvre, and look at the Raphaels, and my Titian ; 
one would like a dozen more eyes for such a pic- 
ture. 

Yesterday I was in the Chamber of Peers.who 
were passing judgment on their own hereditary 
rights, and I saw ]\I. Pasquier's wig ; day before 
yesterday I made mu.sical calls upon the queru- 
lous Cherubini, and the friendly Herz. There is 
a great sign on the house : Manufacture de pia- 
nos par Henri Herz, marcJiand de modes et. de 
nouveautes. I thought it all belonged together, 
but overlooked the fact that there were two 
different signs. I went in below, where I came 
upon gauze and laces in the entry, and somewhat 
confused I asked for the pianos. A multitude 
of fair pupils were waiting above, with industrious 
faces ; I sat down by the fire-side and read your 
dear account of father's birthday, and so on ; 
then came Herz {das Herxclien) and gave audi- 
ence to his scholars. We were very loving, 
thought of old times, and mutually sprinkled one 
another with great praise. On his pianos stands : 
MedaiUe d'or, Exposition de 1827 ; that was im- 
posing to me. From there I went to Erard's, 
tried the instruments, and remarked that it stood 
upon them in great letters : MedaiUe d'nr, Expo- 
silinn de 1827. Then I felt less re.'^pect. At 
home I immediately opened my own Pleyel instru- 
ment, and sure enough, there it stood too in great 
letters: MedaiUe d'or, Exposition de l^i^T. The 
thing is like the title of Hofralh; but it is signifi- 
cant. They say the Chamber will for the next 
thing discuss the following proposition : Tons les 
Franfais du sexe masculin ont des tenr naissance 
le droit de porter I'ordre de la legion d'honneur ; 
and only by especial merit can one obtain per- 
mission to appear witbout the order. You 
actually see no man on the street without some 
sort of gay ribbon ; it puts an end to all distinc- 
tion. 

Apropos ! Shall I have myself lithographed 
full length ? You may answer what you will, I 
shall not do it. For one afternoon as I stood 
unter den Linden before Schenk's shop,and looked 
at H . . 's and W . . 's lithograph, I swore a fear- 
ful oath, which God ouly heard, that I would 
never suffer myself to be hung up, before I had 
become a great man. In Munich the temptation 
was strong ; there they wanted to drape me in a 
Carbonari cloak, with a facsimile beneath, and a 
stormy sky for background ; but I have happily 
escaped with my principle undamaged. Here 
again it is seductive, and really they make them 
altogether too like ; but I adhere to my resolu- 
tion, and if I do not finally become a great man, 
then posterity will be the poorer by one portrait, 
but also poorer by one piece of folly. 

It is now the 24th, and it was fine last evening 
at Baillot's. The man plays wonderfully well ; 
he had invited together a very musical company 
of attentive ladies and enthusiastic gentlemen, 
and I have seldom amused myself so well and 
received so much honor in a soiree ; for really it 
gave me the greatest pleasure to hear my E flat 
majoi Quartet, dedicated to B. P., played in 
Paris by Baillot and his party ; he filled it ful 
of fire and spirit. They began with a Quintet 



by Boccherini, a perruque, but with a very amia- 
ble old gentleman under it ; then the people 
called for a Sonata by Bach. We took the one 
in A major. Very old tones dawned upon my 
mind, of the time when Baillot played it with 
Mine. Bigot ;* we urged one another forward ; 
the thing grew lively, and amused us and the 
people so much, that we immediately played the 
Sonata in E major on the top of it, and mean to 
produce the other four the next time. Then I 
had to play alone ; I thought that I should suc- 
ceed in an extempore Fantasia, and it did actually 
succeed very well. Now the people were fairly 
in earnest ; so I could take three themes out of 
the aforesaid Sonatas, and knead them together 
to my heart's content ; the people were incredi- 
bly delighted ; they screamed and clapped like 
mad after it. 

Then Baillot came and laid my Quartet on 
the desks ; his whole manner had something so 
uncommonly friendly, that I was doubly happy, 
especially as he seemed on the first meeting, and 
generally, rather cold, and somewhat depressed 
by the loss of his positions. A crowd of old 
■amiliar forms appeared again, asked after all 
of you, and related many anecdotes of that 
time. 

When I came through Louvain in the winter 
two 3'ears ago, with the " Liederspiel " in my 
head, and my lame knee,f I held on to a brass 
pump handle in the court, to keep myself from 
falling ; and this year when I arrived in the same 
uncomfortable diligence, with just such cued pos- 
tilions, I had " Liederspiel," and knee, and all 
Italy behind me, and there hung the pump-han- 
dle, as bright and clean as ever ; it had survived 
1830 and all the revolutionary storms of the 
place, and was not changed at all. This is senti- 
mental. Father must not read it, for it is the 
old story of past and present, about which we 
contended one fine evening, and which occurs to 
me here again at every step amid the crowd of 
people ; at the Madeleine, on the way to aunt 
J — 's, at the Hotel des Princes, at the Gallery, 
which father showed me 15 years ago, at the 
sight of the gay signs, which made an impression 
on me then, and have now become shabby and 
brown, and so on. Besides, this evening will be 
Christmas Eve ; but I shall be indifferent to it, 
and to New Years Night too. — But, God willing, 
it shall look differently next year, and I will not 
go again on Christmas Eve to the opera, as I do 
to-day, to hear Lablache and Eubini for the first 
time. Ah me ! I feel but little interest in it. 
"Nut-cracker" and apples would be nearer to me 
to-day ; and I much question, whether the orches- 
tra will play as fine a Symphony as my " Child- 
ren's Symphony.''^ One must be contented for 
to-day. But this is modulating into the minor, a 
reproach continually brought against the ecole 
Allemande, and as I do not profess to belong to it, 
the French think I am cosmopolite. God for- 
bid ! 

And now farewell ; a thousand greetings from 
Bertin de Vaux, Giron de I'Ain, Dupont de 
I'Eure, Tracy, Sacy, Passy and other good ac- 
quaintances. I wanted to tell you in this letter, 
how Salverte attacked the Ministers, while there 

* Mendelssohn's piano teacher in Paris when the family 
lived there for a time in 1816. 

t In 1829 Mendelssohn had been overturned in a cabriolet 
In London and seriously injured in the knee. 

t A so-called Kinder- Sinfoni'' composed by Mendlessohn for 
the family Christmas festival in the year 1820. 



was a little emeute on the Pont Ne.uf ; how I sat 
with Franck in the Chamber in the midst of St. 
Simonians ; how witty Dupin was ; but I can go 
no furtlier. Another time. — Be happy and glad 
this evening, and think also of the brothers. 

Felix. 

P.iris, Bee. 23, 1831. 

Dear Madam Fannj- ! 

Forthree months I have been meaning to write 
you a musical letter, but my procrastination 
revenges itself; for now, that I have been hero 
a fortnight, I really do not know if I can do it. 
I have been in the mood here for all possible 
things : for a traveller full of curiosity and won- 
der ; for a dandy ; for a Frenchman ; yesterday 
indeed for a peer of France, — but not yet for a 
musician. Perhaps I must let it go altogether, 
for music seems to wear a miserable aspect here. 
The concerts of the Conservatoire, in which I 
was particularly interested, will probably not 
take place, because the Commission of the Minis- 
try wished to give to the Commis.sion of the 
Society a commission to curtail a part of the 
income of a Commission of Professors ; where- 
upon the Commission of the Conservatoire replied 
to the Commission of the Ministry, that they 
might go and be hanged (suspended), and they 
would not consent to it. The journals make bit- 
ter comments on it, which yon need not read, 
because with you they are forbidden, — you lose 
nothing by that. The Opera Comique is bank- 
rupt and has had reldche since I have been here ; 
in the Grand Opera only little ones are given 
which amuse me, but otherwise neither disturb 
me nor excite me. " Armida " was the last 
grand opera, but they give it in three acts, and 
that was two years auo. Choron's Institute has 
closed (lit. gone in') ; the lloyal Chapel has gone 
out like a candle ; on Sundays tlicre is no IMass 
to be heard now in all Paris, unless accompanied 
by Serpents. The Malibran appears next week 
for the last time. 

Well, you say, then withdraw into yourself, and 
write your music upon '■' Ach Gott vom ILimmel" 
or a Symphony, or your new violin Quartet, of 
which you tell me in your letter of the 28th, or 
something else that is serious. But that is still 
more impossible ; for what passes outside is all 
too interesting, draws one out, gives food for 
thought and recollection, consumes all the time. 
So yesterday I was in the Chamber of Peers, 
and counted with them the votes, which rent 
asunder a very ancient privilege. But immedi. 
ately afterward I had to run into the Theatre 
Fran9ais, where Madame Mars appeared again 
for the first time for more than a year ; (she is 
beyond all conception lovely ; a voice, of such 
beauty as will never come again, brings you to 
weeping, and yet you enjoy it) ; to-day I must 
see the Taglloni once more, who with the Mars 
makes out two Graces ; (if I find the third dur- 
ing my travels, I will marry her !) ; after that I 
must go to Gerard's classical salon. So too I 
heard recently Lablache and Rubini, after Odilon 
Barrot had quarrelled with the Blinistry ; and so 
I was at Baillot's, after I had seen the pictures in 
the Louvre in the morning, — how is one to with- 
draw into himself? It is altogether too fine 
without. 

But there come moments, as on Christmas Eve i 
in the Opera, where Lablache sang finely ; or as 
on Christmas day, when there were no bells and 



BOSTON, SATURDAY, MAY 24, 18 6 2. 



59 



no festal gaiety ; or as when Paul's letter came 
from London, inviting me for next Spring to 
England, to visit him and the aforesaid Sjiring; 
then one looks deep down into himself, remarks 
that all this properly is but external, that one is 
neither a politician, nor a dancer, nor an actor, 
nor a bel-e^pril, but a musician, and gains courage 
to write a professional letter to his dear little 
sister. My conscience smote me, when I read of 
your now music, which you conducted so carefully 
on father's birthday, and when I was obliged to 
reproach myself, for having not yet said a single 
word to you about your former music, for I cannot 
let you off without that, my colleague ! How 
the deuce can you undertake to set your G horns 
so high ? Did you ever hear a G horn take the 
high G without quavering ? I ask you that 1 
And where the wind instruments come in, at the 
end oftheintroduction,must not the q^-- II 

stand right before you in the same horns, and 
the deep oboes in the same place growl all pasto- 
ral air and bloom away ? Do you not know that 
you must take out a license, in order to write the 
deep B in the oboes, and that it is only allowed on 
certain occasions, as, for example, witches, or 
some great grief? Has not the composer in tlie 
A major Aria evidently covered his voice part 
with too many other parts, so that the delicate 
intention, and the lovely melody of this other- 
wise successful composition, with its many great 
beauties, is obscured, or at least impaired '? Se- 
riously though : this Aria is very beautiful, and 
particular!)' lovely. But I have .something to 
say against your two choruses, which to be sure 
is more directed against the text, than against 
yourself. For me the two choruses are not origi- 
nal enough. This sounds absurd ; but I mean, 
it is the fault of the text, which expresses noth- 
ing original ; a single word might perhaps have 
bettered all that ; but as it now stands, it might 
serve for anything else : for church music, a Can- 
tata, an Offertory, &c. Bvt where it is anything 
else than general, as the sobbing at the end, it 
seems to me sentimental, or not natural. The 
words of the last chorus appear to me too mate- 
rial : Mit dem kraftlosen Mund, und der sick 
regenden Zunge : only in the Aria are the words 
in the beginning fresh and spirited, and from 
them arose your whole beautiful piece of music. 
Of course there is beautiful music always in the 
choruses, for it is by you, — but I feel in the first 
jilace, as if it might be also bj some other good 
master, and in the second place, as if it were not 
necessarily so-, as if it might have been composed 
oilierwise. The reason of that is, that the words 
do not require any particular music. This is 
very often the case too in my music, I am well 
aware ; nevertheless if I do feel the beam in my 
own eye, I would make all haste to draw the 
mote out of your eye, so that it should not pain 
you. 

This then is my resume. I would have you 
more considerate in the choice of the text; for 
after all, not everything that stands in the Bible, 
though it may suit the subject, contains music. 
But you have probably in your new Cantata ob- 
viated my objections, unawares, and I need not 
make them. So much the better if it be so, and 
then yon can enter complaint against me for 
defamation. But so far as your music and com- 
position are concerned, they are very good to 



my taste ; the young lady's cloven foot nowhere 
peeps out, and if I should know a kapellmeister, 
who could have made such music, I should give 
him an appointment in my court. But luckily I 
know of none, and I need not place you at my 
right hand in the court, for you are there al- 
ready.* 

When will you send me something new, and 
warm me up again ? O do it soon ! As for my- 
self, I had shortly after my arrival one of those 
musical spleens, in which one growls at all music 
most of all his own. I felt .so unmusical, that I 
did nothing but eat and sleep ; and that did me 
real good. F., to whom I complained of my 
distress, immediately built a theory of music 
upon it, and thought that so it must be; but I am 
of the opposite opinion, and although we are so 
unlike, and have as many differences as a Bush- 
man and a Caflre, still we are fond of each other. 
I get on splendidly with L., too. He is a very 
amiable man, and the most dilettante-ish dilet- 
tante that I ever met. He knows everything by 
heart ; plays false basses to it, and only lacks the 
quality of arrogance, for with some actual talent 
he is altogether modest and retiring. I often go 
to him, because he is an obliging and kind-hearted 
man ; we should be quite agreed on all points, if 
he did not take me for a docirinaire, and want to 
talk politics with me (a theme which I avoid for 
120 reasons; 1st. because I understand nothing 
about it), and if he did not indulge in hits at 
Germany, and depreciate London as compared 
with Paris. Both are injurious to my cnnslituiinn, 
and whoever assails tliis, with him must I dispute 
and defend it. 

Yesterday I was sitting down at your music, 
and enjoying it, when Kalkbrenner came and 
played me some new compositions. The man is 
grown thoroughly romantic,rob3 Hiller of themes, 
ideas, and such little trifles, writes pieces in F 
sharp minor, practises several hours every day, 
and is, as he always was, a knowing fellow. But 
he always inquires after " the dear little sister, 
whom he is so fond of, with the fine talent for 
composition and playiug," and I always answer, 
that she has not given it up, but is industrious, 
and that I love her much, which is the truth. 
And now. farewell, my dear lady sister ; be well, 
be happy, and may we meet at New Year ! 

Felix. 

(To be continued. 1 

* An alltision to Fanny Hensel's residence in a court, Leip 
ziger-strasse No. 3. 



The Music for the International Exhibition, 

(From the London Times, April .30) 
The adrairahle and universally popular composer 
of Masaniclh, Fra Diavolo, Gvstave, Le Domino Noir 
and so mnny other chef<l'muvres, has sent, under the 
title of Marclie, composge povr I' Exposition Universelle 
de Londres, an overture, spiirkling, brillinnt, and ex- 
hilarating as any of his most renowned dnimatic pre 
ludes, the key E mnjor, the brightest of orchestral 
tones. It commences with a very brief preamble 
{andante mai'sloso). which leads to a delicious niidnnte 
(in C), instrumented for trombones and Porne(s-a pis- 
tons — a movement that for timefnl frraoe may rank 
with a similar passaee in bis celebrated overture to 
Masaniello. This is succeeded by a spirited allenro, 
which, prefaced by an introduction in the minor key 
of E, culminates in a vigorous motino a/la marcia in 
the ni.ajor. Hc-e is the lendins theme, and anything; 
more inspiritinff could hardly be wished. Its con- 
duct is marked throughout by all the skill and happy 
invention of the composer, who, as a master of 
orchestration, occupies a place apart among modern 
composer^; to whom the full resources of the orches- 
tra are fiimiliar. The si-coml theme (in B major) is 
an elegant and charmiue: cantilena., a French " Souji 
without Words," a melody that speaks for itself. 



This is " capped " by a ritornelle, just such as Mehitl 
might have written "(but did not) in his C/iasse da 
Jeune Henri. The two motivi are developed with the 
accustomed facility of M. Auber, who — writing (for 
the first time)la piece expressly for the country where, 
sixty years ago, he spent what he himself recalled as 
" a pleasant time " — seems to have put on renewed 
youth, as though he wished to produce something for 
tite occasion which the Viy^gt Ans immortalized by 
Bernnger might, under agreeable circumstances, 
have suggested. The overture wdnds up, in the most 
animated style, with a movement (im pen phis vite) 
which conveys the idea of a quick march, just as the 
principal theme docs that of a march of triumph. 
Nothing, in short, can be more piquant, nothing more 
engaging, noddng more completely Auber in his 
happiest mood, and therefore, from so eminent a 
Frenchman, nothing more flattering to ourselves on 
so special an occasion, than what, under the modest 
nomenclatnre of Marche, has been furnished by this 
truly great musician for our International Exhibi- 
tion. 

M. Meyerbeer, too, has done his work for us con 
amove. Instead of the march that was expected from 
his practised pen, he has given three marches in one, 
with " Rule Britannia " in the bargain. He has 
shown, in fict, the liigh importance he attached to 
the task he was invited to perform, by producing an 
ingenious and elaliorate masterpiece, the composition 
of which nnist have cost no little time and no litde 
thought. We will in as few words as possible en- 
deavor to describe the plan of M.Meyerbeer's overture 
— for overture it is, and " grand overture" to boot. 
Its title is as follows : — Ouverture en forme de Marche 
pour F Inauguration de ^Exposition Universelle d Lon- 
dres en 1862. The first movement (allegretto ynodera- 
ta), in the open and conventionally martial key of C, 
is entitled Marche Triomphule. It commences with 
an introduction, -whicii, through a crescendo, leads 
gradually up to the subject-proper, the orchestra 
gathering force as it proceeds, until the climax, when 
the familiar rhythm uninistakealdy tells that the veri- 
table " March" has begun. The introduction is built 
upon a prominent feature of the leading subject,which 
with measured pomp and resonant instrumentation, 
amply bears out its denomination of " Triumphal." 
This grandiose strain, to wdiich the entire band gives 
tongue, is answered by the trumpets, fintes, olioes, 
and clarinets, in a sort of fanfare, the whole orches- 
tra counter-retorting in fortissimo ; and thus, by de- 
grees, we are brought to the second part of the sub- 
ject, in which some new and striking transitions will 
not pass unobserved by musicians. The "trio " (as 
the second theme of a march is traditionally styled— 
although seldom now allotted to the antiquated 
" three wind instruments") begins with a strain of 
graceful melody, allotted to the first violins aud bas- 
soons, so delicately accom'panied by "wind" and 
"string," that (although to the basses is assigned a 
pizzicato, which might pass itself for a melody) it is 
always well defined, and stands out with conspicuous 
clearness from the rest. The development of this 
"trio" is marked by successive beauties that will 
speak for themselves, and of which, indeed, we can- 
not attempt a description. Enough that the interest 
never ceases during its progress, and we feel almost 
sorry when the old crescendo (from the introduction), 
with its stirring imitadons and responses, brings us 
back to the leading theme, now assuming increased 
magnificence by reason of its contrast with the melo- 
dious phrases of the "trio." The curtailment of the 
subject on repeti'ion is managed with admirable skill, 
just so much of it being repeated as the laws of sym- 
metry demand. The Marche Triompliale is followed 
by n Marche Religieuse (in the key of E), in which 
the most important part is allotted to tlie wind instru- 
ments. The time of that is andantino quasi allegretto. 
It is announced, with appropriate solemnity, by some 
mvsterious notes on the drum, reiterated, at intervals, 
during the course of die march. The soft and tran- 
quil character of this andantino — which, not less 
original than beautiful, is arranged for the orchestra 
with consummate art, and abounds in combinations 
as delicate as ingenious — has an incNpressibly south- 
ing effect after the sonornus splendor of the move ! 
ment that precedes it. A |ioint that can hanlly c-.-ape 
the admiration of connoisseurs is the new acc.iinpiiii- 
ment allotted to the stringed iusrruniems, wlieii the 
leading theme is repeated, ami the fresh device of 
modulation to which its renurronce gives rise. Here 
is one of those fine touches that reveal the master's 
instinctive abhorrence of monotony, Meyeilieer's 
music is full of such points — occi'.sionally, perhaps, 
almost to excess. The only sin witli which the 
Marche Reliqiense can fidrly be charged is its In-evity. 
If should be played pianissimo, almost ihrougbcuit — 
a feat, we apprehend, however, as impracticable as it 
would be dangerous to attempt in the vast arena of 
the International Exhibition. To the Marche />'</«;(- 
eiise succeeds a Pas Redouble [tn C), a lengthy and 



60 



DWIGHT'S JOURNAL OF MUSIC. 



Iiiglily elahorated movement, which, while preserving 
from end to end the life and spirit of the military 
" Quick Step," exliibits the musician's art and the 
musician's contrivance with a felicity rartly paralleled. 
The theme is as vif and rhythmical as the finale of 
Rossini's overture to Guillaume Tell (which, itshonld 
he added, it in no other way resemhles), and is con- 
ducted throughout with singular felicity. After it 
lias been fully worked out we come to what, in the 
language of musicians, is termed a " pedal point" — 
that is, where a variety of changes of harmony, con- 
structed upon a chosen theme, may take place, while 
tlie bass, or lowest note, remains fixed and unalter- 
able. Here the second violins and the bassoon alter- 
nately give snatches of the first bars of •' Rule 
Britannia," which energetic and familiar tune at 
length forces its way into prominence, and is thun- 
dered out by the united orchestra, in extenso, inter- 
rupted after each section of tlie melody by an orches- 
tral figure, borrowed from the theme of an episode 
in the Quick March — after the manner adopted by 
Bach, more than a century since, and by Mendelssohn, 
of our own time, in their treatment of tlie accompa- 
nied corale. Not content with tliis ingenious artifice, 
Ilerr Mej'erbeer treats our great naval song as a 
fugue, with wliich he combines the most striking 
plirases of his Pas i?e(/o!(6/e'; and thus, at intervals, 
witli extraordinary skill, works as many as three, and 
sometimes even four, subjects simultaneously. The 
movement ends with a coda, which, gathering power 
and intensity bar after bar, attains a climax rarely 
paralleled in brilliancy. We have merely hinted at 
the most prominent features of this remarkable piece, 
wliich does equal lienor to the musician who imagined, 
jilanned, and constructed it, and to the occasion in 
lionor of which it was produced. The first ever 
composed by ilerr Meyerbeer (whose name, never- 
theless, is a " household word " among us) for this 
country, let us hope it may not be the last. 

I'rofessor Sterndale Bennett has shown himself 
worthy of setting the poetry of the Laureate to 
music. His Ode is divided into three parts, with in- 
tervening recitatives and preamble — all choral. The 
words iif the Ode having already appeared in Tlte. 
'J'imeSj it is only necessary to refer to them as guides 
by which the design of the composer may be explain- 
ed. The first strophe, "Uplilt a thousand voices full 
and sweet," — the short hymn of praise addressed to 
the Deity, with which it commences, is very appro- 
priately presented as a four-part corale. The style 
of this corale (in the key of F major) is precisely 
what it ought to be — wdiat, indeed, the words natur- 
ally suggest — jubilant while impressive, simple and 
severe while richly and nobly harmonized. The 
brief but eloquent reference to the late Prince Con- 
sort — 

"0 silent father of our Kings to be" 

is wedded to music with a felicity that can hardly be 
too much admired. Here, while the four-part har- 
mony is preserved, the strict form of the corale, with 
measured phrases and periodical stops, is judiciously 
abandoned. By this expedient a larger field is al- 
lowed for variety of treatment and tor the employ- 
ment of modulation as a medium of expression ; and 
of this Professor Bennett has availed himself with 
equal skill and feeling. The minor key of F (wdiich 
Mendelssohn, in the finest corale of St. Paul, has 
used with such deep sentiment) is justly adapted to 
a theme so solemn ; and the whole passage is as 
touching and pathetic as it is masterly. The descrip- 
tive catalogue of human industries (which has en- 
gendered one of the most stirring passages of the 
Ode,) announced by a short and emphatic choral 
prelude to the words — 

''The world-compelling plan was thine," 

is conveyed with admirable eflJect, through a measur- 
ed recitative (accompanied), the voices at first alter- 
nating with each other in naming particulars, and 
then uniting to signalize generalities. "Rich in 
model and design," exclaim the tenors ; "Harvest 
too! and husbandry," respond the sopranos ; " Loom 
and wheel and engin'ry," ejaculate thejjbasses ; 
"Secrets of the sullen mine," the altos ; and so on. 
The whole of this is most effectively contrived, and 
carried out in the orchestra harmony with such in- 
genuity that a sense of (ragmentariness is never onee 
experienced. The last three lines of this strophe, — 

" And is the goal so far away ? 
Far — how far, no man can say ! 
Let ua have our dream to day" 

are well expressed, the women's voices asking the 
quc3tion,the men's voices answering it, and the whole 
choir giving tongue to the final aspiration. A short 
introductory passage, in full harmony, conveys the 
admonitory couplet, 

"Oh ye, the wise who think, the wise who reign. 
From growing commerce loose her latest chain ;" 



the remaining lines, beginning, — 

"And let the fair white wing'd peece-maker fly," 

and ending, — 

"And gathering all the fruits of peace, and crowned with all 
her flowers," 

being set to a flowing and rhythmical movement (in 
F major — the key of the opening), equally noiicea- 
ble for pure melodious beauty and musician like con- 
struction — a movement, indeed, to be compared with 
the concluding portion of Jlendelssohn's " Lauda 
Sion," the peculiar character of which it successful- 
ly emulates, without borrowing fiom it a solitary idea. 
The passage, for all the voices in unison, to the 
words, 

"Breaking their mailed fleets and armored towers, 
"And ruling by obeying nature's powers" 

is strikingly new and wonderfully expressive. In 
short. Professor Bennett has represented England in 
his musical capacity, as we expected from him. 

Sig. A'erdi's canlata — but why speak of that which, 
after having been written in such good faith, and 
with a feeling not loss honorable to its distinguished 
composer than complimentary to ourselves — has 
been unceremoniously rejected ? 'We should only 
be too happy to place on record how worthily Italy, 
the "Land of Song," the cradle and nursery of 
music, had done her part in the great festival. But 
that pleasing task has been denied us, not by Sig. 
Verdi (to his credit be it said), but by Her Majesty's 
Commissioners. 



Jacques-Fromenthal Halevy, 

(From the London Athenicuni.) 

It is hut as it were yesterday that we were speak- 
ing of the literary writings of this accomplished mu- 
sician as meritorious, and to be studied as an exam- 
ple by those who too indolently conceive the practice 
of Art to atone for the absence of general culture. 
Wo have now to regret the close of his career of ac- 
tivity hv death. 

Ji. Hale'vy was born at Paris, in the year 1799. 
He was of Hebrew extraction. When he was ten 
years of age, he was placed in the Conservatoire — 
studied there under Berton and Cheruliini, and, ten 
years later, carried oiT the grand prize, which entitl- 
ed its owner to the privilege of completing his studies 
in Rome — a privilege in 1819 not so valueless as we 
have lived to see it become. Ten years later, after 
many smaller and less successful essays at opera and 
ballet, he has had so far asserted his reputation as a 
composer of promise as to receive a commission from 
the Italian Opera at Paris to compose " Clari," for 
no less redoubtable an artist than Malihran. But 
this great singer (perhaps owing to the singularity of 
her genius) was not fortunate in the operas compos- 
ed for her ; and M. Halevy, as his subsequent setting 
of "La Tempesia" clearly proved, was, from first 
to last, too indefeasibly and unmistakably national 
to be able to Italianize himself. After writing a 
ballet or two (among which the portion contributed 
by him to that strange nightmare dream " La Ten- 
tation " must not be forgotten), and thereby showing 
his extreme ingenuity in instrumentation, he finally 
took the place never since lost by him, by the pro- 
duction of "La Juive," in 1835, at the Grand Opera. 
The acceptance of this musical tragedy was, no 
doubt, in part due to the powerful nature of the 
story, which, as a fiercely tragical libretto, is a mas- 
terpiece (it has been said, rejected by Signor Rossini 
in favor of " Guillaume Tell,") due in part to the 
stage pageantry, which was magnificent beyond all 
precedent. No doubt, that which is good in M. 
Ilale'vy's music is not generally of a quality to seize 
the ear at a first hearing ; but that the work is a solid 
and characteristic work, time has proved. It estab- 
lished that the composer had a style, as well as 
science. The two in combination are not to be re- 
sisted. 

Subsequently, M. HaMvy contributed six other 
serious works to the Grand Op^ra— " Guido et 
Ginevra " (of which only the Romance lives, thanks 
to Signor Mario's delicious singing), — "Le Drapier," 
" La Reine de Chypre" and " Charles the Sixth," 
with the defying chorus, that so delighted the Aiu/lo- 
phohia of our neighbors at the period of its produc- 
tion (these two written during the reign of that tur- 
bulent Sultana, Madame Stoltz),— "Le Juif Errant," 
and "La Magicienne." None of the half-dozen bore 
out the lasting good fortune of " La Juive," — for 
causes presently to be touched on. 

M. Halgvy was more 'generally successful in his 
productions at the Opera Comique. "L'Eclair" 
holds its place by the cleverness with which an opera 
containing four characters only can be sustained, 
without chorns, — "Les Mousquetaires" (which we 
are inclined to consider its writer's masterpiece) by 



its old French tone of the Court-world. "Le Val 
d'Andorrc" won a third success aseribable to its mix- 
ed, mountain character. In must be told of the last- 
named opera, "Le Val," that it kept the theatre from 
ruin during those troulilesome times which will make 
'48 as well remembered in Paris as was a certain '4.5 
in England. A long list of operas, composed for 
the same theatre by M. Halevy, conld be named ; 
hut these last have had a more chequered fortune. 
It remains, therefore, to mention a certain "Jaguar- 
ita," written for Madame Marie Cabel, at the The'atre 
Lyrique, and asrain to refer to "La Ten»pest'a," pro- 
duced for Her Majesty's Theatre in London — an un- 
gracious task, if there was ever such a thing, since 
M. Hale'vy, who has never made a footing or had a 
home here ("La Juive'' was played under Mr. Bunn's 
management icilhout the music), had here to replace 
no less an established favorite of ours than Mendels- 
sohn, advertised without permission. 

In truth, M. Hale'vy was a musician more remark- 
able for craft than for fancy or for melody. He had 
a shrewd intelligence, which atoned for the restricted 
geniality of his nature. He had, moreover, the real 
resolution of a true artist. If fancies did not "come 
to the call," there was never a detail slighted by 
him. He was French (as we interpret the term in 
music) ; as such, making his effects by disappoint- 
ments and surprises and small points, and not so 
much unwilling as unable to trust himself to that 
feeling for the moment which has irresistibly driven 
forward the musical creators of other countries. But 
after this has been said, it must be added, that head 
in the musician was not called on to make up for 
want of heart in the man. On the contrary, with 
all his own strongly-pronounced individualities, he 
was honest, cordial, kindly — fair and friendly in his 
intercourse with his brother artists and his apprecia- 
tion of their powers, however different from his own. 
This may be seen in the book of collected discourses 
which, as Secretary of the Academy of Fine Arts, it 
was his duty to deliver — discourses on architects, 
painters. Academicians, men of letters. In brief, he 
Avas a noticeable, intelligent, honorable man, if not 
a man of genius ; and his name as such, and (to 
hoot) as the name of one who has made a mark on 
his own world, that of music, should, and will live in 
the archives of French Art. He was buried with 
the honors that the French delight to bestow on their 
celebrities. A " De Profundis" was sung on the 
occasion, composed by four of his pupils — MM. 
Gounod, Masse', Bazin and Cohen, each of wliom 
set a strophe. His bust is to be placed in the In- 
stitut. 



Halevt's Recollections. — Recollections — [Sou- 
i:enirs et Portraits, Etudes sur Ics Beaux Arts, par F. 
Halevy]. (Paris, Levy.) — These "Recollections" 
are in every respect worthy of notice, and onght to 
be in the bands of all musicians who take a pride in 
their art as one of universal poetry, not of inspired 
idiocy. Though general accomplishment among 
them he much less rare than the foolish world has 
chosen to believe, — by themselves, in the formation 
of their studies, and in contradiction of certain pecu- 
liarities inevitable to their position, its importance 
has not been sufficiently prized. Tliey have too lit- 
tle remembered such names as Herschel, Philidor, 
Burney, Mendelssohn, — they have too little adverted 
to the fact that an artist does not live and last mere- 
ly by his special works, still less by his currency in 
courtly society under the protection of a graceful 
and pleasing demeanor, but somewhat also by his 
power of mind and character — by his capacity to 
take part, if not in the great scheme of Life, in all 
that concerns the manifestations of imagination 
under any of its many forms. Viewed from this 
point, the appearances of Dr. Liszt in print, how- 
ever inflated the style, however erroneous the deduc- 
tions, must be largely placed to his credit whenever 
his position as a " man of mark" comes to be dis- 
cussed. Viewed from this point, the Italian and 
Swiss letters of Mendelssohn are so many precious 
records written by a man of genius, quick as equable, 
with a pen of gold. Viewed from this point, this 
unpretending volume by M. Haldvy has, according 
to its order, no common significance and value. M. 
HaMvy, whose musical labors might been thought 
arduous and extensive enough to occupy any one 
man's life, having accepted the Secretaryship of the 
French "Academy of Fine Arts" (as they will con- 
tinue to call it, pertinacious to their derived Italian 
phraseology), and the duty having devolved on him 
of pronouncing the annual funeral discourse, or eu- 
logy, or character — as may be — over the Members of 
the" Academy who have died within the year, has 
fulfilled his task thoroughly. His notices of Fon- 
taine, Blouet, David d'Angers (an artist whose ad- 
mission to English sympathies is difiicult), and De- 
larocho, are as highly finished and appreciative — 



BOSTON, SATURDAY, MAY 24, 18 6 2. 



61 



withal as concise — as any such obituary notices can 
be made. The musical papers show a just and lib- 
eral appreciation of tlie subjects treated. These are 
— " Oriffin of the Opera in France," "Thomas Brit- 
ton, the Small-coal Man," "Allepri and tlie Sistine 
Music," "Frohherger the Organist," "A Letter from 
Abbe' Bourdelot" (describing the ridiculous perform- 
ances of the pedant Meibomins at the Court of 
Sweden), "Onslow" (too much forgotten in the 
country to which he belonged by blood, though, be- 
sides JTield, he is the only British instrumentalist 
who has a European celebrity), and "Adolphe 
Adam," a man who seems to have inspired great re- 
gard among all his contemporaries. These are all 
treated with thorough knowledge, as was to be ex- 
pected, but with an absence of mannerism which we 
were less prepared to meet in one whoso own music, 
however skilfully wrought, falls short of the highest 
merit, because of a certain dryness and affectation 
which bespeak the ingenuity of its writer to bo more 
predominant than his inspiration. 



The Pyrrhic Dance and the Irish Jig. 

At 9 o'clock, when the service «as concluded, or 
nearly so, we heard the report of ship guns, and the 
clergymen formed a procession, carrying; a large 
volume to meet the Queen on landing. Her Majes- 
ty proceeded to the church, one or two men like 
soldiers, running bore and there to keep at a distance 
the bare-legged nrchhis, who would not be kept off, 
and who, with all tlie humor of two-legged sc.i- 
urchins, every now and then ran into tlie shallow 
water of the bay, and thus, in defiance of their pur- 
suers were enabled to have a near view of her Ma- 
jesty as she walked up a narrow causeway. The 
crowd were respectrul and well-behaved. They 
cheered occasionally ; but neither pressed too near, 
nor incommoded her Majestv. The church had been 
so vci-y hot, from the great number of wax candles 
in it, that I did not return to it. After a sliort time 
her Majesty stood on a little balconv overlooking tlie 
paved yard of the convent, which was filled with the 
country people to see the "Eouiaika," said to be the 
Pyrrhic dance of the ancient Greeks. The music 
was a wretched guitar and violin, which the fiddler 
played with the bow in his left hand. A circle beins 
formed, sixteen young women joined hands in a half 
circle ; and a man taking the hand of the first com- 
menced slowly leading them round and round, all 
with the most serious expression of face ; and occas- 
ally varying this circumgvration by making a step 
forwards and then backwards. The dance did not 
put on the most distant approach to merriment ; and 
it appeared a very dull affair. Indeed I could com- 
pare It to nothing so truly as to a very lazy dog 
going round and round after his own tail. " This last- 
ed a very long time; and then the two musicians 
advanced to the centre of the circle, and the fiddler 
shook his elbow a little faster ; and I saw a smile on 
one or two of the women's faces, and 1 thought we 
were to have a merry dance ; hut the man, the leader, 
never relaxed a muscle, he looked all through like 
grim death. To the music the women quickened 
their pace just so much as now and then to lift a foot; 
for in the first part it was all shovelling along with 
slippers down at the heels ; but the jollity never went 
farther, — and this, as I saw it, is the far-famed 
"Romaika." There still is tliis Oriental barbarism 
among them — the men and women do not dance to- 
gether. 

I went out on the side of the hill, and so grave 
and fair a fete— for it was both — I never saw. No 
laughter, no sports, no toys for children. There they 
stood round a gambling table, or sat to eat melons 
and bread under the trees. The only exception was 
in two or three groups of men dancing in parties of 
four,— the men resting their hands on one another's 
shoulders, and going slowly, recline round like half- 
dead teetotums ; and after this had lasted for a long 
time they would separate and dance oppsite to one 
another for a few minutes in a little more rapid stylo. 
In one group a boy, who had probably learned the 
trick at Corfu from some of our fellows, introduced 
the turning the coach-wheel into his performance; 
that is, putting his two hands on the ground and 
turning heels over; but this was done and looked at 
with as much gravity as all the rest. The musicians 
that played before the Queen would not, I suppose, 
condescend to perform for oi polloi ; and all the 
music the dancing groups had, was a tin pipe, such 
as we see played upon in London and Dublin by 
a blind man, who gets money to go awiiy ; and a 
horrid melancholy drum, hit now and then with one 
stick. The women were apart on little eminences, 
looking at the men dancing ; and I must say, with 
all my admiriition for Greece, that on this occasion 
the Island race, the deseendents of heroes, looked to 
my eyes to disadvantage, dancing only among them- 



selves in their white petticoats, puffed out to the 
largest crinoline dimensions ; while women, lank in 
figure and dress, and nearly enveloped from head to 
foot, with exception of face, in long veils, stood 
around merely as spectators. I saw no women 
dancing. Oh ! for an Irish fair. Joyous shouts, 
merry laughs — fiddles playing — bagpijies droning — 
pigs squenking — crakes going — horses kicking — 
donkeys braying — sheep bleating — do<;s barking — 
cocks crowing — eeese gabbling — cattle lowing — tents 
shaking — flags flying — the jie on tlie door — the fire 
on the sod, and the corn beef in the pot — this i-i .an 
Irish fair ; and in this I must award to my own dear 
country the choragic tripod, even against the isles of 
Greece and the Pyrrhic dance." — Dr. Corrigan's 
" Ten Days in Athens.'^ 



Muscular Christianity in the Sistine 
Chapel. — The form of Christianity desirable in 
l?ome during Holy Week has been specified justly 
by an experienced resident as " Muscular Christiani- 
ty," and that onlv. More solemn feelings would be 
considerably "mortified" (to use the correct term) 
by the various scenes wherein tlie precept " Strive to 
enter in at the strait gate." is practised without any 
metaphor whatever, in the Sistine Chapel and the 
Capella Chorale. Let not the reader imagine he is 
to be troubled by the repetition of the well-worn 
story ill the columns of tlie Daili/ jS^nvs, how some 
resolute ladies sit .all day in these holy places, bring- 
ins provision for the flesh and the spirit, in the shape 
of camp stools, lunch and crochet, picknicking under 
the solemn gloom of Michael Angelo's "Last Judg- 
ment," with uttermost cheerfulness ; how others 
rush in where (one might well suppose) angels 
would fear to tread, in a tremendous jostle at the 
final crush, wherein men and women, hats, veils, and 
crinolines, are j»,1I united in one destiny of destruc- 
tion : and again how, when service has begun, there 
is an alteration of the Lamentation of .Jeremiah with 
exclamations of a totally difl^erent character : — "Je- 
rusalem, Jerusalem, converterc ad Dominum ;" 
"Monsieur ce Suisse m'a insulte'e, II m'a pouse'e 
d'lin manibre aftVeuse ;" "Tristis anima mea ;" 
"This lady's crinoline is quite suffocatins me;" 
"Ecce appropinquat bora." " Here is the Queen of 
Naples ; get up and let her pass." Finally, when 
every ear is wearied, and every back broken, the 
"Miserere" itself peals out, and how. if it were not 
a proof of execrable taste, it would be confessed 
that it is simply and solely a sort of glorified Irfsh 
howl — all these things and all the histories of their 
holy fiiminni, are they not written in the tales of 
all travellers ? Rome is excessively full this year, 
and the old accounts of suffocations and struggles 
may be taken as true, with a slight degree of aggra- 
vation. — Letter from Rome. 



Music in Battle. — "Heintzelman flew every- 
where among the New Jersey and other troops, who 
gave indications of backing out of the fight. He 
bawled himself hoarse, and stiffened the arm wound- 
ed at Bull Run, in ordering, coaxing, encouraging, 
beckoning and waving the outnumbered men into 
their ranks again. To infuse enthusiasm into them, 
he wandered around to find a hand of music. He 
saw three in a group, and ordered them to play 
Yankee Doodle in force I The men, professional in 
the face of defeat and death, said they had not the 
requisite number of instruments to do justice to all 
the notes of the tune ! The General then hurried 
around for more — found a part of another band — 
united them to the professional three, and electrified 
the worn-out infantry with the "Star Spangled Ban- 
ner,' 'Yankee Doodle,' and 'Gem of the Ocean.' 
The effect was that of war magic. It is in the am.all 
things as well as the great that the true commander 
is known." — Tribune letter from Williamsburf/. 



mxml Infelltgem. 



Organ Exhibition. — In accordance with pre- 
vious announcements, the new Organ just completed 
by Messrs. E. & G. G. Hook of this city, for the 
First Congregational Church (Rev. Wm. J.Potter's), 
at New Bedford, was exhibited at their factory on 
Tremont street, Friday afternoon. The small but 
appreci.itive audience who attended had an opportu- 
nity of hearing it to the best advantage under the 
skillful hands of Messrs. Willcox of this city, A. T. 
Thorup, organist to the society for whom it was bnilt 
(and formerly of Rev. Dr. Gannett's in Federal 
street,) Joseph Hastings of the Universalist Church, 
Roxhiiry, and Thos. Hodges, formerly of the Catho- 
lic Cathedral, Lowell. It is a first class instrument 
of the largest size — in fact the largest Church Organ 



in New England, and has, besides the usual pedal 
scale, three complete manuals, all extending from C 
C to G in alt — 56 notes — and 48 Registers, viz : 12 
in the Great Organ, 11 in the choir, II in the swell, 
a remarakbly effective Pedid of 5 stops, two compo-.i- 
tion pedtils for the Great Organ, and 8 accessories 
and couplers. Onr space to-day will not permit us 
to enumerate the many merits "of this noble instru- 
ment, but we cannot foriiear to mention one improve- 
ment which has been introduced for the first time in 
this city, and which we believe has been used but in 
two other organs in this country. It consists in an 
extension of the notes forming the Key board, which 
causes them to project an inch or more over the line 
they usually occupy, thus bringing the manuals much 
nearer together, ;and adding greatly to the facility 
and ease of the orgiinist in execution. This is such 
a manifest improvement tliat it can hardly fail to be- 
come generally adopted. Tlie Messrs. Hook have 
been engaged about four months upon this organ, 
and it is a work in every wav creditable to them. It 
will be immediately taken down, packed, and sent 
forward to its destination, to make room for another, 
still larger, which is to be built fiir the Blind Asylum 
at South Boston. — 'Traveller, 19M. 

Mr. Geobge E. Whiting, an organist of our 
citj', sailed from New York for Europe on the 16lh. 
He proposes spending some time in London, as a 
student of Best, the celebrated English organist ; 
after which he will proceed to Germany, visitin^r all 
the principal musical conservatories of the country. 

AVoitCESTER, Mass. — The Mendelssohn Quintette 
Club gave their last concert of the season on Monday 
evening, to a large audience at Brinlcy Hall. They 
were assisted by Mt^ssrs. Ribas, Hamann, Nitz, and 
Stein, and thus enabled to produce a lYonf/to— that 
of Spohr, an ititeicsting and in some respects brilliant 
work ; at nil events, one for which our thanks are 
due the Club for an opportunity to hear it entire. 
They also played the fine overture to Don Giovanni, 
with excellent effect ; also a beautiful nonetto 
arrangement of Schubert's exquisite Klegi/ of Tears ; 
and the brilliant first finale from / Piiritani. In ad- 
dition to these, were solos by Messrs. Schultze, Goeh- 
ring, and Wulf Fries, which were of course 
enthusiastically received. We are glad to record the 
fact that the Club have but to announce a concert 
here to be sure of a hearty and substantial welcome. 
Each concert 'nrings forward the old and constant 
friends of the Club, and always some new faces. The 
butterflies and whisperers stay away, leaving the 
audience a moilel (me in giving the intelligent atten- 
tion which establishes that bond of sympathy between 
performer and audience, without which the finest 
music flails flat, stale, and unprofitable. Season after 
season the Club have visited us, giving refreshing 
draughts from the musical inspirations of the great- 
est composers ; .at once gratifying and creating a 
love for that which is of highest worth. In these 
thirteen seasons a good work has been done, as any 
one must see who remembers the mnsical treasures 
they hare laid before us. — Palladium. 

New York. — On Tuesday night, an Amateur 
Operatic entertainment drew together a brilliant dis- 
play of our fashionable society. The occasion was 
a benefit for the Women's Hospital ; the Opera was 
"The Gipsy's Warning," by Dr. Ward, made known 
to the public (and to our readers) in a similar way, 
three or four years ago ; the place was the splendid 
mansion in Forty-Seventh street lately built and 
now occupied by Dr. Ward. The novelty and most 
brilliant success of the evening was the singing of 
Mile. M., a young lady from the West|Indies, whose 
beautiful mezzo-soprano voice possesses extraordin- 
ary compass, and decidedly made a sensation. — 
Albiort. 

Brooklyn. — On Saturday nisht, the fifth and 
last concert of The Brooklyn Philharmonic Society 
was given at the Academy of Music, with an attrac- 
tive programme, inclnding orchestral selections fi-ora 
Spohr, Liszt and Mendelssohn, and two operatic airs 
hy Tombesi, with piano-forte compositions by 
Thalberg and Wollenhanpt for Master Willie Pape. 

The season has been an unusually prosperous one, 
and everybody turned out to do honor to the last 
concert. The house was crowded to excess, and so 
fiir as public countenance was concerned the affair 
was a grand success. The "Seasons" was rendered 
with great skill, the various combinations of the 
master mind being elaborated and translated, under 
the accustomed guidance of Eisfeld, to the instruc- 
tion and edification of the audience. The final 
overture was the orchestral success of the perform- 
ance, and was 60 beautifully given as to merit the 



62 



D WIGHT'S JOURNAL OF MUSIC. 



attempt which the Philliarmonic made, and always 
make to secure a second hearing. 

Tomhesi was entliusiastically applauded for very 
meagre woi'k ; his Aoice could not possibly have 
stood the wear of half an hour's operatic labor, and 
in the encore exhibited uiimistakahle signs of weak- 
ness. In manner and self-esteem, he was all that the 
public expect from a first-rate tenor, while in voice, 
quality and quantity, he Avas miserably deficient. 

Master Pape's piano-forte playing was very fine. 
He is well called a prodigy, although we are happy 
to say he has none of the disagreealtle airishness or 
sickliness of most young performers. His manipu- 
lation is singularly free and his style very pleasing. 
His memory is quite wonderful, ard is best illustrat- 
ed by the fact that he will play without the aid of 
notes, any of thirty named pieces of twenty or thirty 
pages in length. — Times. 

Philadelphia. — The performance of the Barber 
of Sex'itle, at tbc Academy of Music, last evening, 
was one of the best ever heard in Philadelphia. Cer- 
tainly there has been no one who has sung the florid 
music of the role of /loss/ni with more astonishing 
brilliancy than Mad. U'Angri. She sang superbly 
throughout the opera, and in the Singing Lesson 
scene iiitroduecd the Elena Wallz, composed by her 
husband, the introductory andante movement of 
which is very graceful, and was sung by her with ex- 
quisite expression. The waltz movement was beau- 
tiful and bewildering in its nia/.e of difficulties* and 
was perfectly sung- Brignoli, IManensi, Susini and 
F. Amodio were each excellent in their respective 
parts. All but the last named arc well known here. 
He has a good, well-trained barytone voice, made an 
excellent "-Basilio," and bids fair to become very 
popular. 

To-morrow evening the superb serious opera of 
I-M Famrita will he produced. — Bulletin, 16th. 

The Germania Rehearsals will conclude next 
week. This was the last Saturday's programme : 

1. Marcti Strauss 

S. Overture — Faust (1st time) Spobr 

3- Komance — William Tfll Kossini 

4- H^iitz — Aiironi Lanner 

6- A'liifiio of Srotti.-^ii Syoiphooy Mendelssohn 

C Overture — Egmotit Beetlioveo 

7- Seeiies anU Oavatioe — Attila Venli 

8. Teszetto aud Kinale — Luerezia Borffia Donizetti 



Jtoigljfs lournal of '^hm. 

BOSTON, MAY 24, 1863. 

Music in this Numbed-. — Continuation of Chopin's 
Mazurkas. 



Musical Festival of the Public Schools. 

The " fTrst annual exhibition of the musical 
department " ("purely) " of the public schools of 
Boston" took place at the Music Hall on Wednes- 
day afternoon. Hitherto, from the successful 
initiation of these festivals in the summer of 1858, 
they have been held in the hot month of July, 
and in connection with the general examination 
of the schools and festival of tlie medal scholars, 
coupled with fatiguing length of presentation 
ceremony and speeches. It was a great improve- 
ment to make the musical exhibition, or festival, 
an occasion complete in itself, and to put it in this 
fresh and pleasant month of blossoms. So- on 
Wednesday we had the beautiful and unique 
spectacle of fourteen hundred boys and girls, 
with their bright,iuteresling faces, all so neat and 
■well dressed, full of happy life, full of the sense 
of order, piled rank upon rank before us on the 
amphitheatre-like stage, which rose high up 
against the organ screen and above the upper 
balconies on either side. The girls, in the front 
sections, with their white and many-colored dres- 
ses, seemed a living correspondence or incarnation 
of the bloom now breathed miraculously over 
woods and fields; while the boys in sober grey, 
in the background and centre, shone chiefly by 
their bright faces, and in their hushed and regu- 
lar array looked all on the qui vive. The statue 



of Beethoven, wreathed, looked out from the 
bottom of the central opening, presiding blandly 
over a scene which might have formed one of the 
visions in bis " Hymn to Joy." (Over what vari- 
ous scenes the Master is here called upon post- 
humously to preside ! Rarey'shorse-tamings, for 
instance; not so bad that, for was not he too 
hippnrlamns in a certain sense, subduer of the 
discords?) Not the least interesting part of the 
whole was to see the marshalling of the various 
companies of girls and boys into their high and 
dizzy seats ; with what beautiful order the con- 
fluent streams flowed in in all directions, charming 
the eye with fugue-like maze ! And, look ! far 
up there on the topmost side heights, the slender 
white-robed maidens, walk cautiou.sly along like 
a row of white Sonnambulas over the well-known 
bridge. — AVe hasten to the music. 

After a solid organ voluntary, a few words of 
welcome in behalf of the Music Committee were 
addressed to the audience (the fortunate repre- 
sentatives of thousands who would have been too 
glad to be there), and then the following pro- 
gramme was sung in order : 

1. Voluntary on the organ, by J. C. D. Parker. 

2. The Lord's Prayer, a Gregorian Chant, sung 
in unison by fourteen hundred children. 

.3. Choral, Seb. Bach, with organ accompani- 
ment. 

4. Prayer from Ber Freischufz, Weher, sung hy 
pupils of Girl's High and Normal School 

5. Choral — Anno Domini IB?.') — sung by the 
children, with organ and orchestral accompani- 
ment. 

6. Chorus from II Giur,iraento,Mercadante,snng 
hy pupils of the Girls' High and Normal 
School. 

7. Choral, Sch. Bach. 

8. Chorus — The Heavens are telling — from the 
Creation, Haydn. 

9. The Old Hundreth Psalm : 

, From all ttiat dwell below the skies, 

Let the Creator's praise arise ; 
Let the Itedeemer's name he sung 
Through every land, bj every tongue. 

[The audience were requested to rise and join 
in singing the last verse.] 

Eternal are thy mercies. Lord , 

Eternal truth attends thy word; 

Thy praise shall sound from shore to shore, 

Till snns shall rise and set no more. 

The singers, we should state, had been select- 
ed from the various public schools, where all are 
taught to sing, an hour or two each week, and 
had been drilled for the occasion by Mr. 
Charles Butler and Mr. Carl Zerrahn, 
the latter being the conductor of the Festival. 

There was something startling and unique in 
the first sound of the 1400 voices in unison. The 
sound is unlike anything else, and has a charm 
peculiarly its own. It is not the most refined 
kind of tone ; but it is open, fresh, clear, lustly, 
penetrating, to a degree which nothing but so 
many birds' throats, brought into equal unison, 
might exceed. What must have struck every 
one was the entire predominance of hoy tone ; 
shut your eyes, and you would hear only boys ; 
and this the more in the Lord's Prayer chant, 
since it is all confined to the range of three com- 
paratively low tones. But the same thing was 
more or less observable in all the solid unison 
pieces. The precision and purity with which 
the chant was rendered, was worthy of all praise. 
It was all given mezxo forte, with a fine swell on 
the closing Amen. 

The Chorals were all very impressive, espec- 
ally the second one ascribed to Bach (No. 7). 
This, in D minor, is one of the most beautiful 
and solemn of all the chorals. Many persons 
doubtless thought these selections rather dull and 



sombre, monotonous and unexciting. But tho 
Choral has its great advantages, entitling it to be 
made the staple and foundation in the mass sing- 
ing of so many children. It brings onttone, full, 
pure, sustained and even, — which is the art of 
arts in singing. 2. It is about the only kind of 
music which has ranch effect when sung in unison 
by a large mass, and for a length of time ; music 
with more motion in if, requires parts, that the 
white ray be broken into the prismatic colors, 
besides imitations and responses, makjng it too 
complicated. 3. The choral is dignified, grand, 
broad, boundless like the sea ; restless nerves, 
distracted thoughts, fatigue of commonplace, are 
calmed, and the soul lifted antl made strong by 
it ; whereas light and lively tunes, sung by so 
many, would sound infinitely trivial and hum- 
drum. 4. There is possibly a basis being laid, 
in all this practice of the rising generation, for 
choral singing by the people in our religious con- 
gregations, — a thing so often called for, and 
found so far impracticable. We have only hinted 
some of the arguments for the large space 
allowed to chorals in the programme. — Of the 
effect of the performance we would only suggest, 
that, unique and interesting and grand as the 
effect of this child unison was, it is not the kind 
of tone which the ear can endure longest. Riper 
voices, the blending of men and women, with the 
octave, supposing the execution ctpially precise 
and pure, would sonnil more satisfying. This is 
the bright, equal, glaring green of Spring; the 
subdued and varied shades of August foliage are 
richer. — One further art, too, the children have 
yet to learn ; one of the most difficult essentials 
of good singing : and that is the art of carrying 
one tone smoothly over into another ; there was 
too much mechanical setting apart of the tones. 
But all this will come in time, precision, unity, 
po-sitiveness being of course the first les,sons. 

But the programme by no means lacked varie- 
ty and contrast. In the chorus : " The Heavens 
are telling" we had the contrast of sex in tlie 
voices, and the charm of harmony, which, 
although limited to two parts,was a great refresh- 
ment. It was sung with surprising spirit and 
precision, the answering phrases being taken up 
with the certainty of practiced oratorio choirs. 
How much softer, sweeter were the passages sung 
by girls alone! and how like a thousand crack- 
ling trumpets the boy tones broke in on the for- 
iissimos ! To be sure, two-part harmony was very 
thin ; tenors and basses were much needed ; but 
the want was measurably supplied by the excel- 
lent orchestral and organ accompaniment, which 
was also of great service in the Chorals. 

In the prayer from Der Freischiitz, a piece ad- 
mirably suited for the purpose, sung in two parts 
by the young ladies of the two advanced schools, 
tiiere was a much more cultivated and really 
musical quality of tone, and a charm of refine- 
ment in the singing. So too in the chorus from 
II Giuramenio — when did it ever sound so well 
upon the operatic stage ? 

In the middle of the exercises an intermission 
of five minutes was proclaimed, when suddenly 
there burst forth from all those young voices a 
babbling sound as of a hundred mountain brooks 
leapinjj over stones, a perfect Lauterhrwmen 
of lively young talk. It was refreshing as a 
right-down rain in a hot summer afternoon. — 
Another episode was the surprising us, before 
"Old Hundred," with the " Star Spangled Ban- 
ner," sung with wonderful spirit by the fourteen 
hundred, and followed with three ringing boy 
hurrahs, as the Stars and Stripes were produced, 
while the girls waved their handkerchiefs. '-Old 
Hundred" was as grand as ever, and so ended 
such an exhibition as older people could scarcely 
witness with dry eyes; a typical representation of 
■youth, of hopeful education, groi\'Ing patriotism, 
as well as a most creditable manifestation of the 
wisdom and fidelity of the Committee and the 
teachers in our schools. 



Musical Service at St. Paul's. 

This church was crowded to overflowing on Mon- 
day evening, by eager listeners to specimens of the 



BOSTON, SATURDAY, MAY 24, 18 6 2. 



63 



church music of various ages, arranged and con- 
ducted by Dr. S. P. Tdckerman, tlie organist of 
the church, and sung admirably well, we may say 
once for all, by the Double Quartet choir of the 
church, assisted by a select clioir of eight voices. It 
was a more developed repetition of a similar feast 
given by Dr. Tuckerman in the same place six 
years ago, and many of the pieces were the same. 

Part I. consisted of an organ voluntary ; a portion 
of the Choral service, as performed in the English 
Cathedrals, by Tallis, A.D., 1556, in which after an 
almost interminable monotone upon an "intoned " 
sentence, the two simple chords upon Amen are won- 
derfully refreshing and sound even strange, ending 
with the Venite, sung to the 8th Gregorian Tune. 
Mendelssohn's Trio "Lift thine eyes" followed ; and 
then a Te Demn and Denedictiis in Eh, and a beauti- 
ful Quartet for two trebles and two altos, composed 
by Dr. Tuckerman. 

With Part II. commenced the historical scries of 
specimens, from the fourth to the present century ; 
and these were so significant, that we copy the pro- 
gramme with its comments nearly entire. 

Part II. 
Specimens of Church Music from the Fourth to the 
Nineteenth Century. 

1. Ameko.?ian Chant. Fourth Century. St. 
Ambrose. "St. Ambrose was Bishop of Milan, and 
a great lover of tlie clmrch service. He instituted 
that method of singing known by the name of Cant- 
us Ambrosianus, or Anibrosian Chant. His design 
was to introduce a kitid of melody, founded on the 
then existing rules of art, and yet, so plain and sim- 
ple in its n.uure, that not only those whose immedi- 
ate duty it was 10 pei form the divine service, but 
even the ^vhole congregation, migtu sing it. The 
distinguished simplicity of the Ambrosian Chant is 
even at tliis day to lie remarked in the service of the 
church of Milan, Avherc it w;is first instituted, A.D. 
SSi.—Uaickins' Hist. Mtis. Vol. Ist, p. 287. 

2. Plain Chant. Eleventh Century. Aretinus 
(Guido), a Benedictine Monk of Arezzo. 

Guido is said to have been the real restorer of 
music, since he gave it a fi.\ed system, till then un- 
known and neglected. He was the inventor of the 
six monosyllables of the solfeggio, iit, re, wi, fri,sol, 
la, which were derived from the words of the hymn 
of St. John, "Ut qucant laxis, Resonare fibris." 

3. DiAPUONiA OR Organuji. Eleventh Cen- 
tury Guido 

In this very curious specimen, we have one of the 
first attempts at part writing. The plain song or 
melody is sung by the treble and bass in unison, 
while the tenor and alto parts are singing also in 
uiMson, but a fourth below the treble part, thus, of 
course, making a series of consecutive ^fifths with the 
hass. Dr. Burney says that the singers were proba- 
bly accompanied upon the organ by some compound 
stop, not unlike the "Sesquialter" of our own day. 

4. Two Part Harmony. Eleventh Century, 
(latter part) Franco 

This compo.ser was a distinguished ecclesiastic of 
the Cathedral at Liege, A.D. 1088. 

5. Te Dedm Laudamhs. Sixteenth Century. 

John Marlieck 
This composition is taken from "A Boke of Com- 
mon Praier, noted,'* and is the earliest musical service 
prepared for the Church of England subsequent to 
the Reformation. The singers were accompanied by 
the Rec/al, a portable organ, having one row of pipes, 
which was used td give out and sustain the melody 
of the plain song. 

6. "Lamentatio in Parasceve." Sixteenth 
Century. (Four voices.) Palestrina 

"Sanctcs." Chorus Palestrina 

This eminent musician may be considered not only 
as the most learned contrapuntist of his time, but as 
the founder of the purest school of church harmony 
that ever existed. His Motets are, for the most part, 
in the fugue style, the subjects in general consisting 
of only a few bars, but always remarkable for a cer- 
tain grandeur in their construction and movement. 
In the choice of the progression of his harmonies, 
he followed strictly the laws and prohibitions laid 
down by the theorists of his time. No part of the 
vocal score was allowed to be extended above or be- 
low the five leger lines forming the staff, the com- 
bination of chords must never be broken by moving 
to an unrelative harmony, and the intervals of the 
sharp seventh, sharp fourth, imperfect fifth, sharp 
second and the major sixth, were prohibited. Pales- 
trina died in the year 1594. 



7. "Lord, for Tht Tender Mercy's Sake." 
Full Anthem. Sixteenth Century Farrant 

(This composer was Organist of St. George's 
Cluipel, Windsor, in the year 1564. His composi- 
tions are remarkable for their devout and solemn 
style. The specimen given, is a great favorite in the 
English Cathedral Choirs.) 

8. Anthem. (Four voices) ; Seventeenth Cen- 
tury R. Creyghton. D.D. 

"I will arise and go to my Father, and will say. 
Father, I have sinned against heaven and before 
Thee, and am no more worthy to be called thy Son." 

(This Anthem is considered one of the finest spe- 
cimens of church music ; learned in its construction, 
and highlv devotional in its character.) 

(Dr. Burney says of the Author. " His composi- 
tions for the church entitle liim to high rank among 
reverenil dillettanti.") 

9. "Miserere." Seventeenth Century. 

Gregorio Alleirri 

(The verses are snuir hv two Choirs, alternately. 

The first choir consists of two sopr;ini. alto, tenor 

and hass ; and the second Choir,two soprani, alto and 

bass.) 

Allegri was a native of Rome, and a singer in the 
Pontificial Cliapel. The preceding composition has 
gained for him a world-wide celebrity. The music 
consists of onlv a tew simple harmonics, often re- 
peated to the different words of the verses ; but the 
Papal Choir, having obtained from tradition certain 
maiks of expression, .ire enabled to p'-oduce the most 
striking and solemn effects, increased in a wonderful 
degree by the solemn ceremonies attendant upon its 
performance. The Miserere is siiul' in the Sistine 
Chapel on the Evening of Good Friday. 

Part III. 

1. "GnAND Of.fertotre." for the Orcrnn. Le- 
fehnre Wcly, Organist of the Church of the Made- 
leine, Paris. 

Continuation of Part Second. 

2. "Praise the Lord." Verse Anthem ; Eigh- 
teenth Century Croft 

(Dr. Crnfl: may vprv jnptiy be considereii .ts one of the mnst 
eminent Clmrch Musicinns that EnElanii ha.s pro'tacer]; the 
preceding .specimen is a great favorite in the English Cathedral 
Choirs.) 

3. Chorale. From Fifth Molet ; Fishteenth 
Century. J. Sebastian Bach 

{Dr. Piirney psvs of Bacli, "His Oratorios, Masses. Chorales, 
.and unrivalled fufrues. are living evidences of his wonderful 
ganins. and so long as ths world lasts, these works ivili stand 
as imperishable models of art.") 

4. Three Movements from the 15tii Mass. 
Eicrhteenth Centnrv Haydn 

The above specimens fnrni.sh good examples of th" errace 
and elegance of style so conspicuous in the compositions of 
this very eminent musician. 

5. Trio. "Amplins lava me." Eighteenth 
Centnrv . , Snrti 

This composer was Chapel Master nf the Cathedral at Milan, 
in 1782 The specimen given of his style has been greatly 
admired 

7. Treble Solo. Ave Maria. Nineteen Century. 

Cbernbini 

7. Chorale. "To God on High." From "Saint 
Paul." Nineteenth Century Mendelssohn 

8. "QuANDO CoRpns." Quartet from vStabat 
Mater." Nineteenth Century Rossini 

DoxoLOGT. fThe Old Hundredth .J 
From the old Ambrosian Choral, to the Quando 
Corpus of Sig. Rossini, here was entirely a wide 
range and full of interest and instruction. Those 
old things sung in unison, hardly tunes, mere cad- 
ences, sounded just like what the traveller hears 
droned out or shouted by the priests and monks in 
every church and convent in the old Catholic coun- 
tries. It is more ritual than music. And who can 
credit it that pieces were ever suns" in bare sequences 
of fourths and fifths, like that " Diaphonia"1 That 
was music made hv theory, without poetry or feeling. 
Arriving at the Snnctus by Palestrina we have some- 
thing for the first time that sounds like full-blown, 
rich and glorious music. (A specimen of Orlando 
Lasso also would have been interesting). The 
iVi'sereri? of Allegri was impressive, although it shows 
a plentiful poverty of musical ideas. Several of the 
English compositions too were striking, althoueh 
we cannot feel the presence of much genial inspira- 
tion in that whole school, reared essentially on Pal- 
estrina. The Choral by Bach, with its wonderful 
four-part harmony, enriched to five parts in the 
second verse, was to our taste worth all the rest as 
sac7'f^c/ music. 

The Organ pieces and accompaniments by Dr. 
Tuckerman showed much skill and knowledge. The 
chief fault of the programme was its great length ; 



several of the more familiar pieces, finely as they 
were sung, might well have been omitted in favor of 
the things from which one hoped to gather some new 
knowledge. 

But we shall have another opportunity to speak 
more fully of this music, since, as we are glad to 
learn, the Service tvill he repeated, the following notice 
having just been handed to us : 

D:^=The musical Service given by the Choir of St. 
Paul's Church on Monday evening last, will be re- 
peated next Monday evening. Some slight altera- 
tions will be made in the programme, and the exer- 
cises will commence at eight o'clock. All persons 
interested in Church Music are invited to attend. 
Programmes may he procured at Messrs. Ditson & 
Go's on Saturday and Monday. 



JIiss Lizzie Chapman's Concert will take place 
this evening at the Mclodeon, and she has establish- 
ed re.al claims upon a generous attendance of the 
musical public. She is a Boston lady, with a voice 
of uncommon power and beauty, with musical talent 
and intelligence, ladj-dike manners ami a high de- 
gree of vocal culture, acquired in spite of many ob- 
stacles in Italy, wiiiiher she is desirou.s of returning 
tf) make that culture more complete ; and on the 
success of this concert somewhat will depend her 
abilily to do this. Surely she deserves success. She 
will be assisted by the Mendelssohn Quintette Club ; 
by Mr. B. J. Lang, who will play some ])iano pieces 
bv Mendelssohn ; ami by Mr. Whitney', the bass 
singer. Her own powers will besho'.vn in a Rondo by 
Coppola: "La Ninet pnzzii ;" a Ronmnza with viol- 
oncello nhhltr/ato, hv Robamli : a duet (with Mr. 
Whitney) t'?'oin Mercadante's Nonnanni a Pariiji, 
and a Romanza fiom II Giuramento. 

The complimentary concert given to Signer Ben- 
DELARI, by his friends and pupils, last Saturday 
evening, at l\rercantilc Hall, was altogether success- 
ful and full of interest. There were very fine voices, 
and much fine siniring ; both by well known singers, 
and by pupils, whose fame has not gone beyond 
private circles. Several composiiions by Mr. Bende- 
iari gave not a little pleasure, especially an arch, 
quaint little biiUad : "Do you really think he did ?" 



Chit-Chat. 

Fry, of the Trihune, after hearing Wagner's Over- 
ture to "The Flying Dutchuiiin," says: "It was 
ingeniously destitute of melody. Ghastly rumpus 
was its main feature." In Meyerbeer's Struensee, on 
the other hand, " haimony and tnelody were not 
abolished, and there was reference to the beautiful." 

A San Francisco paper speaks of " the snhlime 
opera of Sonnamhula." 

Master Willie Barnesmore Pare is the name 
of a very young pianist, who is now exciting attention 
in New York and Brooklyn, and who, to judge from 
the accounts, makes Gottschalk his ideal. The 
World of May 8th says of him : 

His name is pretty well known in private fashion- 
able circles, where the young gentleman has been 
listened to with wonder and delight for some months- 
past. 

Master Pape is a native of the Somh, hardly 
twelve years of age. His countenance is frank and 
pleasing, his manners agreeable. He is a singularly 
gifted lad, having already acquired a proficiency in 
piano playing that enables him to perform accurately 
and with great good taste, several test pieces by Liszt, 
Thalberg, Chopin, Beethoven, Gottschalk and other 
masters. He will appear before long in a series of 
soirees, at which either Madam D'Angri or Carlotta 
Patti will probably sing, together with other artists 
of distinction. .Master Pape played on Saturday 
last, at the Brooklyn Philharmonic concert, two or 
three extretnely difficult compositions, and elicited 
thereby tlie warmest applause from the critical audi- 
ence present. 

San Francisco. — Italian Opera was flourishing 
"in superb stylo" last month, at the Metropolitan 
Theatre. Sonnamhula, Farori'a, Trovalore, and so 
on. The prime donne were Madame Biscaccianti, 
Miss Lizzie Parker ("of Boston, prima donna of the 
Handel and Haydn Society"! O.and Mme. Schcne- 
gerle ; principal tenor, Mr. Wni. Schraubsiiidter, 
formerlv of the "Orpheus" in Boston ; baritones, &c. 
Mens. Charles, Mons. De Haga, Roneoveri, &c. 



64 



DWIGHT'S JOUENAL OF MUSIC. 



A London music publisher announces, among liis 
new and popular publications, " The Dream of St. 
Jerome, by Beethoven, price 2s. 6d." This looks 
decidedly posthumous ; has that great soul stooped to 
" spirit-rappings " ? 

A letter from Leipzig speaks in high praise of the 
remarkable piano-forte playing of Mr. Dannreuther 
(from Ohio, if we mistake notj, a pupil^at the Con- 
servatory there. 

Mr. Tennyson corrects two errors in his Exliibi- 
tion Ode, as it appeared in the Times. As we quoted 
the Ode from the Times, we append the correction. — 
In the second line " invention " should he read, not 
" inventions , " and, further on, " Art divine," not 
" Part divine." 



uin\ Corrtspithitte. 



Philadelphia Mat 19. — After two nights of 
opera the Italians have left us. Their performances 
drew fair audiences and were satisfactory. Except- 
ing Mancusi's weak^voice, the inevitable Avogrado, 
and a careless chorus, there was naught to complain 
of. The orchestra might have been fuller without 
marring the ensemble, but, with pious resignation, 
Philadelphians have become so used to the standard 
number of twenty-five, deemed alike sufficient for a 
Germania rehearsal, a dance-band, or a Symphony, 
that when some venturesome musical entrepreneur 
advertises a monster orchestra, the boldest imagina- 
tion might revel in the anticipation of listening to 
a band of forty, but would deem the bringing to- 
gether of an orchestra of sixty as a scheme too vis- 
ionary to admit of practical demonstration. 

From a lack of the feeling that sometimes induces 
the musicians of large cities to co-o]3erate in order to 
give with the greatest possible effect some chosen 
master-work, all attempts in that direction have, with 
ns, been failures. So apathetic are our instrumental- 
ists, that two rehearsals are thought sufficient for the 
preparation of a difficult Symphony, and the careful 
leader wlio should desire a greater number would be 
considered exacting. 

The Musical Fond Society, possessing a fine 
hall and the nucleus of a good orchestra, ought to do 
much for the advancement of the divine art. It has 
not given a concert for years and is a very sleepy 
concern ; well managed financially, but either dead 
or comatose musically. 

The season now ending has, thus far, been prolific 
of concerts, good, bad, or worse. So rapidly have 
these entertainments followed one another, that it is 
yet a matter of conjecture with me whether the ma- 
jority of them did more for their projectors than to 
enable them to provide for rent and printing ex- 
penses. From the character of the programme and 
artists announced in many instances, it would have 
been rashness of a degree not yet raine to have at- 
tempted to attend the entire series. 

There were but few musical events worthy of re- 
cord. The concerts of the brothers Hasslee, the 
playing of Gottschalk, the "Wolfsohn soir&s, 
some of the Peeelli nights, and one soiree of 
Gaebtner's are, perhaps, all that will afford pleas- 
ant recollections to critical concert-goers. 

Of the improving influence of the Germania re- 
hearsals and the Wolfsohn and Thomas classical 
soirees every year gives new proofs. Both are doing 
their good work in different ways and yet both are 
eminently successful. 

I give you the following programme of Mrs. 
Behrens' concert announced for this evening. It 
promises to prove a pleasant affair : 

Part I. 

1. Overture — "Le Pardon de Ploermel" Meyerbeer 

Grand Orchestra and Invisible Chorus. 

2. Romance, "Thou art so near and yet so far." Keichardt 

Mr. George Simpson. 

3. Aria, "Una voce poco fa," " II Barbiere di Siviglia.". . 

Rossini 
Mrs. Henrietta Behrens. 



i. Ticlin Solo, ■' La Sylphide" MoUenhauer 

Mr. Edward MoUenhauer. 

5. Aria, "Oil ! mio Fernando." "La Favorita". . .Donizetti 

Mile. Octavio Gomien. 

Part II. 

1. Grand Choral Fantasie, Op. SO Beethoven 

Mr. Carl Wolfsohn, Grand Orchestra and Choru.s 

2' Scena and Aria. "Judith" Concone 

Miss Josephine O'Connell. 

3. Song — "The Wanderer" Schubert 

Mr. A. R. Taylor. 

4. Violin Solo, " Dreamy Sounds of WigTam Life," " The 
Flight of the Indian Warrior." Fantasia Characteris- 
tic MoUenhauer 

Mr. Edward MoUenhauer. 

5- M.ale Chorns — " The Young Musicians" Kiicken 

The Miennerchor Vocal Society, under the direction 
of Mr. P. Wolsieffer. 

Part III. 
Rossini's great masterwork " Stabat Mater I" 
To conclude^with, by general request " Glorious America." 
National Hymn — Words by J. E. McCalla. Music by 
Henry G. Thunder, under the direction of the Composer. 
Solo by Miss Blackburn. 
Conductors: Mr. Carl Anschutz, Mr. P. Wolsieffer, Mr. 
S. Behrens, Mr. H. G. Thunder. 
Mr. H. G. Thunder will preside at the piano. 
Mr. Wm. A. Newland will preside at the Organ Harmonium. 

— Ch anteee lle . 



New York, Mat 19. — At the concert of Theo- 
dore Thomas, which took place at Irving Hall, on 
May 13th, the music composed by Meyerbeer for his 
brother's tragedy of " Struensec" was played for the 
first time, the announcements claimed, in New York. 
Some of the believers in the Trinity of the Future, 
(i.e., Liszt, Wagner, Berlioz) as unrivalled masters 
of instrumentation, occasionally overlook Meyerbeer. 
Ho, too, has it at his fingers's ends ! The charming 
effect of the harp ohhllgato, created some surprise as 
to why Mr. Tonlonin has been " unseen, unheard," 
at the Philharmonic concerts ? In our modern or- 
chestra, the harp plays no insignificant p.art, and the 
pianoforte is but an inharmonious substitute for it. 
This highly effective " Struensec " music (Overture, 
Military Music with Danish National Song, and Pol- 
onaise) was the most important number on Mr. 
Thomas' programme, and very successful with the 
audience. Wagner's "Fliegende Holldnde}-" overture, 
suggestive at least, — was played " as well as could 
be expected." Query : are insufficient rehearsals a 
sufficient excuse for imperfect execution ? Mos- 
cheles' pianoforte quartet " Les Contrastes," was a 
little old-fashioned and tedious ; the eminent pianists 
engaged in it, appeared to think so too ! Mr. Mason 
played Schubert's Fantasia, opus 15, symphonically 
arranged for pianoforte and orchestra by Liszt, with 
the admirable conscientiousness and finish th.at make 
him the genuine and dependable (a rarer quality than 
people think !) artist he is. Madame de Lussan sang 
a Rossini and a Verdi aria. There was a violin solo 
by Mr. Bruno WoUenhaupt, and some chorus sing- 
ing by the Teutonia Society. This concert was, on 
the whole, one of the most interesting of the season, 
and spoke well for the aim and endeavors of Mr. 
Thomas. 

Messrs. Mills and Mollenhauee gave their 
last "Classical Soirfe" on the evening of May 17th. 
Beethoven's fine F minor (opus 95) quartet, was not 
played with the unity of expression and equality of 
tone, the light and shade, always demanded by the 
quartet, and by such a quartet in particular. Mr. E. 
MoUenhauer's Concert Etude, an excellent see-what- 
can-he-done-with-the-violin ! was a little out of place. 
Either Beethoven or MoUenhauer must suffer by such 
close comparison ! Mendelssohn's piano-forte and 
violin variations were charmingly played, and are 
pleasing as a relief to more earnest music. Mr. 
Mills gave the Beethoven Sonata, opus 10, No. 3, 
with fine execution and expression. The novelty of 
the programme was Eubinstein's Trio for piano, 
violin, and violoncello, opus 52, No. 3. Experience 
has taught us the tolly of criticizing any work of im- 
portance after a first hearing only ; so let it suffice 
here, to say that the Trio struck us as most interest- 
ing, but of unequal merit; the beautiful, somewhat 
weakened by an infusion of the mediocre. It was 
played well, e con amore. Alma. 



>prisl Uotites. 



DESCRIPTIVE LIST OF THE 

Xj.A-TESa? 3VETJSIO- 
Piiblii4lic(1 by Oliver Dit^ou Sl Co. 



Vocal, with Piano Accompaniment. 
The minstrel's last song. J. McNanghton. 25 

Very sweet and plaintiTe. 

Little Willie. Ballad. Mrs. S. G, Knight. 22 

A sad, yet charming pong, full of pathos and calling 
tears into the eyes. It chants the death of a dear 
little boy. 

The Cruiskeen Lawn. Song, "Lily of KiUarney" 25 

The Colleen Bawn. Song. 25 

The Bachelor's Life. Song. 25 

Lullaby. Ballad. 25 

The Moon has raised the lamp above. Duet. 35 

The above are from Jules Benedict's new and suc- 
cessful opera of the "Lily of Killarney." recently 
brought out in London. Tt is in ehort the popular 
melo-drama of the "Colleen Bawn," which made so 
nice a hit at the Boston Museum, with the addition 
of music. One of the songa named above was intro- 
duced here, and will be well remembered. We allude 
to the Cruiskeen Lawn. 



Instrumental Music. 



Bombardnient of Fort Pulaski. 



Ch. Grohe. 25 



Another of Grebe's dashing battle pieces Young 
hidies at their Pianos have an opportunity of sympa- 
thising with those heroic fouIs who are periling their 
lives for their country's sake. 

Leadmine Regiment Quickstep. F. A. Hoppe. 25 

A spirited military movement, nicely set for the 
Piano -forte. 

Delhi Galop. For Guitar. W. L. Hay den. 25 

The Rover's Grave. Song for Guitar, Cw-tis. 25 

Two well known compositions adapted to the Gui- 
tar. We can heartily recommend them to all Guitar 
players. 

Thou art so near and yet so far. Transcription. 

B. Richards. 35 
Another Piano gem by the author of the fascinat- 
ing " Warblings at eve." 

La Maltaise Polka. A. WoUenstein. 25 

A brilliant and refreshing Polka, and one sure to 
please. 

On this day of joy delicious. Barcarole from 
the "Sicilian Vespers." A. Baumhach. 35 

Then you'll ren:iember me. From *' Sonnam- 
bula." Do, 35 

Two well known opeiatic airs, transcribed for the 
Piano by this eminent teacher and composer. 

Books. 

Winner's Perfect Guide for the Piano 
Forte. Containing a Full Course of Instruc- 
tion and a Collection of Choice Music, compris- 
ing upwards of One Hundred and Fifty Pieces 
arranged for the Piano Forte. 50 

As a low-priced instructor for the Piano there has 
none been published equal to this in conciseness of 
matter and in its general method of study. The les- 
sons are admirably suited to the wants of young 
pupils and indeed those of older growth may find 
considerable in it both instructive, useful and enter- 
taining. The selection of music includes the latest 
compositions, and is not, as such collections are too 
apt to be, a hodge-podge of hacknied melodies. ; 



Music by Mail. — Music is sent by mail, the expense being I 
about one cent on each piece. Persons at a distance will find \ 
the conveyance a saving' of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand' 
miles; beyond that it is double- ' 







Whole No. 530. 



BOSTON, SATURDAY, MAY 



31, 



1862. 



Vol. XXI. No. 9. 



The O'Lincon Family. 

BY WILSON FLAGG. 

A flock of merry singing birds were sporting in the 
grove ; 

Some were warbling cheerily, and some were making 
love; 

These were Eobolincon, Wadolincon, Winterseeble, 
Conquedle ; 

A livelier set were never led by taber, pipe, or fiddle ; 

Crying, " Pew, shew, AVadoIincon, see, see, Eobo- 
lincon, 

Down among the tickle-tops, hiding in the butter- 
cups ! 

I know the sanc}' chap, I see his shining cap, 

Bobbing in the clover there ; see, see, see !" 

Up flies Bobolincon, perching on an apple-tree, 

Startled by his rival's song, quickened by his rail, 
lery. 

Soon he spies the rogue afloat, curveting in the air, 

And merrily he turns about and warns him to be- 
ware ! 

" 'Tis you that would a wooing go, down among the 
rushes ! 

But wait a week, till flowers are cheerv ; wait a week 
and ere you marry. 

Be sure of a house wlierein to tarry ! 

Wadolink, Whiskodink, Tom Denny, wait, wait, 
wait." 

Every one's a funny fellow ; every one's a little mel- 
low ; 

Follow, follow, follow, o'er the hill and in the hol- 
low ! 

Merrily, merrily, there they hie ; now they rise and 
now they fly ; 

They cross and turn, and in and out, and down in 
the middle and wheel about. 

With a " Phew, shew, Wadolincon ! listen to me 
Bobolincon ! 

Happy's the wooing that's speedily doing, that's 
speedily doing. 

That's merry and over, with the bloom of the clover! 

Bobolincon, Wadolincon, Winterseeble, follow, fol- 
low me!" 

Oh what a happy life they lead, over the hill and in 

the mead ! 
How they sing, and how they play ! See, they fly, 

away, away ! 
Now they gambol o'er the clearing ; ofi^ again and 

then appearing ; 
Poised aloft on quivering wing, now they soar, and 

now they sing : — 
" Oh let us be merry and moving ; Oh let us be hap- 
py and loving ; 
For when the mid-summer has come, and the grain 

has ripened its ear. 
The haymakers scatter our young, and we mourn for 

the rest of the year ! 
Then Bobolincon, Wadolincon, Winterseeble, haste, 

haste, away \" 

— Atlantic Monthly. 
i» ■ ■ 

Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 59.) 

To Carl Immkkmann in fDussELDORF. 

Paria, Jan. 11, 1832. 

You have given me leave to report myself to 
you from time to time, and since I have been 



here I have daily intended it ; but one lives in 
so little quiet, that I can only come to it to-day. 
When I compare this busy life here, with all the 
whirl and thousand-fold distractions, among a 
foreign people, with your house in the garden 
and the warm winter room, I cannot help think- 
ing how you wanted to exchange with me and 
travel hither in my place, and then I wish that I 
had taken you at your word. But then to be 
sure you would have had to remain in your 
winter room, and I should have come out to you 
in the snowy weather, seated myself in my 
corner, and listened to the " Sehwanenritter " ; 
after all there is more life in that, than in all the 
tumult here. In a word, I enjoy the thought of 
my returu to Germany ; there everything indeed 
is small and homely, if you will, but there are 
men living there, men who know what Art is, 
who do not admire, do not praise, above all do 
not criticize, but who create. You are not wil- 
ling to admit this, but that is only because you 
are yourself one of them. 

But do not believe, that I go about homesick, 
like a young German with long hair, finding the 
French superficial, and Paris frivolous; I say all 
this only because I thoroughly enjoy and admire 
Paris, and am becoming acquainted with it, and 
I say it just because I wish to write to you in 
Diisseldorf. On the contrary, I have plunged 
right into the whirlpool, do nothing all day long 
but look at novelties, Chambers of Deputies and 
Peers,pictures and theatres, cosmo-dio-, neo-, and 
panoramas, parties, &c. Besides there are musi- 
cians here as many as the sands upon the sea- 
shore ; they all hate one another, so that you 
must see each one singly, and practice fine diplo- 
macy ; for they are all like people in small towns, 
and what one says to another is known the next 
morning to the whole corps. And so my days 
have fled thus far, as if they were not half so 
long, and I have not yet been able to compose. 
But in a few days this foreign life shall cease ! 
my head whirls with all that I have seen and been 
astonished at ; and now I will collect myself again 
somewhat and go to work ; then I shall feel well 
and at home again. 

I like best to go in the evening to the little 
theatres, because in them the whole French life 
and people are mirrored ; particularly am I fond 
of the Gymnase Dramatique, where they give 
only little Vaudevilles. It is lemarkable what a 
thorough bitterness, what a deep satiety lies in 
all these farces ; it is cloaked with the pretti- 
est turns and the liveliest acting,but therefore all 
the more strongly prominent. Politics plays 
always the chief part, and that might disgust me 
with the theatre, since we have enough of it with- 
out that ; but it is a light-hearted,ironical politics 
in the Gymnase, which uses all the events of the 
day and all the newspapers, to provoke laughter 
and applause, and one must laugh and clap with 
them in the end. Politics and licentiousness are 
the two leading interests, upon which it all turns, 
and, as many pieces as I have yet witnessed, a 



scene of seduction, or an attack on the Ministers 
has never failed. The whole manner of the 
Vaudeville, where certain conventional music 
comes in in every piece at the end of the scene, 
to which the actors half sing, half speak some 
couplets with a witty point, is so very French i 
this is something which we neither can nor wil 1 
learn, for this way of connecting a standing re" 
frain with new wit is wanting in our conversation 
and our ideas ; I can imagine nothing more strik- 
ing and effective, and nothing more prosaic. 

A great sensation is produced just now by a 
new piece at the Gymnase : " Le Luthier de Lis- 
honne" ; this is the delight of the public. On the 
bill an anonymous person stands announced ; but 
,carcely does he make his appearance, when all 
(he people clap and laugh, and you learn that 
(he player, in gesture, dress and mien, is a decep- 
tive imitation of Don Miguel ; he makes himself 
abundantly recognized as king, and now the 
piece is made. The more barbarously, foolishly 
and basely the Unknown behaves, the greater is 
the delight of the public, who do not let a single 
gestui-e or expression pass unheeded. He has 
fled from a riot into the house of this instrument- 
maker, who is the most faithful royalist in the 
world, but unfortunately the husband of a very 
handsome woman : one of Don Miguel's favorites 
has obtained a rendezvous from her for the fol- 
lowing night, and begs the king, who comes in 
just then, to help him by having the husband be- 
headed. Don Miguel answers : Tres volontiers, 
and while the Luthier recognizes him, falls at his 
feet, and is beside himself with joy, he signs his 
death warrant,but at the same time signs another 
for his favorite, in whose place he means to come 
to the pretty wife. At every enormity, which 
he undertakes, we clap and laugh, and are infi- 
nitely delighted with the stupid Don Miguel on 
the stage. So ends the first act. In the second 
it is midnight ; the pretty wife alone, and agita- 
ted ; Don Miguel climbs in through the window, 
takes all possible pains to win her love upon the 
stage, makes her dance and sing before him , but 
she cannot endure him, falls at his feet and en- 
treats him to spare her ; whereupon he siezes her, 
drags her and carries her several times across the 
stage', and if she did not snatch a knife,and some 
one knock at the door at the same time, it might 
end tragically. At the close the worthy Luthier 
rescues the king from the hands of the French 
soldiers, who have just arrived, and of whose 
bravery and love of liberty he is dreadfully 
afraid ; so the piece ends satisfactorilj'. 

Then comes a little comedy, where the wife is 
faithless to the husband, and has a paramour; 
then another, where the husband is unfaithful to 
the wife, and is supported by a mistress ; then a 
satire on the new buildings in the Tuileries, and 
on the entire Ministry, and so it goes on. How 
it is with the French Opera, I do not know ; it 
has become bankrupt, and nothing has been 
played in it since I have been here. At the 
Academie Royale they give Meyerbeer's Eoherl 



66 



DWIGHT'S JOURNAL OF MUSIC. 



le Diable continually with very great success : 
the house is always full, and the music has pleased 
universally. Such an outlay of all possible 
means of representation, I have never seen upon 
the stage ; everyone in Paris that can sin<r or 
dance or play, sings,plays and dances in it. The 
sujet is romantic : i. e. the Devil appears in it 
(that suffices with the Parisians for romance and 
imagination). But it is very poor, and if two 
brilliant scenes of seduction did not occur in it, 
it would produce no effect. The devil is a poor 
devil, appears in knightly dress, to tempt astray 
his son Kobert, a Norman knight, who loves a 
Sicilian princess. He actually brings him to the 
point of gambling away all his money and his 
personal property (i. e. his sword) at dice ; then 
he induces him to commit a sacrilege, gives him 
a magic branch, which transports him into the 
bed chamber of the aforesaid princess and makes 
him irresistible. The son does all this very wil- 
lingly; but when at the end he has to sign him- 
self away to his father, who declares that he 
loves him and cannot live without him, suddenly 
the devil, or rather the poet Scribe brings in a 
peasant girl, who possesses a will of Robert's 
deceased mother, reads it to him, and makes him 
so full of doubt, that the devil has to sink through 
the trap-door at midnight with his business unac- 
complished. Thereupon Kobert marries the 
princess, and the peasant girl has been the good 
principle. The devil's name is Bertram. — Now 
I cannot conceive of any music to such a cold, 
calculated piece of fantastical manufacture as 
that, and so the opera does not satisfy me ; it is 
always cold and heartless, and in that case I feel 
no eflect. The people praise the music ; but 
where warmth and truth are wanting, I have no 
test to apply. 

Michael Beer set out to-day for Havre ; it 
seems he means to write poetry there, and that 
reminds me that, on the first evening that I saw 
you at Schadow's, I maintained he was no poet, 
and you answered : That is a matter of taste. 
Heine I seldom see, because he is entirely ab- 
sorbed in liberal ideas, or politics. He published 
some time ago si.xty Spring Songs ; only a few 
of them seem to me to havs true life and feeling, 
but those few are really superb. Have you 
already read them ? They are in the second 
volume of the " Reisebilder." Borne means to 
publish some more volumes of letters ; we are 
both full of enthusiasm about Malibran and Tag- 
lioni ; all these gentlemen revile and bluster 
against Germany and all that is German, but 
they cannot speak French decently; I have no 
patience with them. 

Pardon me for falling into so much gossip ; and 
here now I have to write upon the disrespectful 
margin of the paper ; but as I once could see 
you every day, and now it is so long since I have 
seen you, it has become a necessity to me, and 
you must not take it ill of me. You had prom- 
ised me once, too, to send me a few lines in 
answer ; I know not whether I ought to remind 
you ot it,but I should like too well to know how you 
live, and what there is new in the cupboard in 
the corner, how far you have got on with " Mer- 
lin," and my "Schwanenritter," — the name sounds 
always like sweet music in my ears, — and whether 
you have sometimes thought of me, and of next 
May, and of "The Tempest." It is perhaps ex 
pecting a great deal, for me to ask you to answer 
a letter immediately ; but I fear you will have 



quite enough in the first one, and would prefer 
not to got a second, and therefore I take heart 
and ask you for an answer. But I need not 
properly have said this, for you used to know my 
wishes, before I could utter them, and if you are 
still as friendl)' to me, as you were then, you will 
fulfil this desire, as you have done all the others^ 
So now farewell. 
Yonr 
Felix Mendelssoiin^ Baethoi.dy. 

Paris, .Tan. 14,1832. 

I am just beginning to feel myself at home 
here, and to know Paris. Verily it is the mad- 
dest, liveliest nest that can be imagined ; but it 
has only half an interest for one who is no poli- 
tician. Therefore I have made myself a cloclri- 
naire ; I read my newspaper in the morning.have 
my opinion about war and peace, and confess 
only among friends, that I know nothing about 
it. But that will not do with F., who has been 
swept completely into this vortex of dilettantism 
and dogmatism, and actually believes himself fit 
to be Minister. It is a pity for him, for probably 
nothing good will come of it. He has sense 
enough to be always occupied, and not enough to 
have an occupation, — is dilettante in everything, 
and can criticize all well, but he brings nothing 
to pass. So we are always on the same familiar 
footing, see each other almost daily, like to be 
together, but inwardly we remain utter strangers. 
He seems to be writing for public jonrnals,is very 
much with Heine, and abuses Germany like a 
magpie. All this I cannot like, and as I am very 
fond of him, it makes me uncomfortable. One 
must get accustomed to it, but it is really too sad 
to know wherein one fails, and not be able to help 
him. Besides he is visibly growing older, and so 
this irregular, unoccupied life is less and less to 
the purpose. 

A . . . has removed from the house of his 
parents to the rue Monsi<jny,*' and lives there 
body and soul now. I have an " Appeal to All 
Men " by P., wherein he lays down his confession 
of faith, and invites all to give a portion of their 
means, however small, to the St. Simonians. The 
appeal also extends to artists, who are to devote 
their Art in future to this religion ; to make 
better music than Rossini and Beethoven ; to 
build temples of peace ; to paint like Raphae_ 
and David. I have twenty copies of this appeal 
which I am to send to you, dear father, as P . . . 
commissioned me. I will send nne, and you will 
have enough of it ; and that one only by private 
opportunity of course. 

It is a bad sign for the state of feeling here 
that such a monstrous idea, in its repulsive prose 
could spring up and gain any influence, so that 
for instance many students of the Polytechnic 
School have taken part in it. One cannot under- 
stand what it will come to, when they lay hold of 
the thing so externally : promising to one honor 
to another fame, to me a public and applause, to 
the poor money, — when they annihilate all effort, 
all spirit of progress by their cold estimate o 
capacity. And then their ideas of universal phi- 
lanthropy, of disbelief in hell, the devil and 
damnation, of the destruction of egotism,. — mere 
ideas, which one has with us by nature and find 
everywhere in Christendom, — without which I 
should not wish to live, — but which they regard 
as a new invention and discovery, and so keep 
* Xbe seat at that time of the Saint Simonians. 



repeating every moment, how they mean to 
transform the world and make men happy. When 
A . . . tells me very calmly, that he has no need 
of improving himself, but only others, since he is 
not at all imperfect, but perfect, — when they 
have nothing but compliments and praises for 
themselves, and for every one whom they wish to 
win over, admire one's power and talent, and 
lament that such great powers should be lost 
through all these obsolete ideas of duty, calling 
and activity, as formerly understood — it must 
seem to one a melancholy mystification. I was 
present last Sunday at a meeting, wliere the 
Fathers sat in a circle; then came the principal 
Father and demanded their reports, praised and 
blamed them, addressed the assembled people, and 
gave orders; — it almost made me shudder! A. 
too has renounced his parents, lives with the 
Fathers, his disciples, and seeks to raise a loan 
for them. 

Enough of this ! Next week a Pole gives a 
concert ; in which I have got to play a piece for 
six persons with Kalkbrenner, Hiller & Co. ; so 
do not be frightened, if you see my name man- 
gled somewhere, as in the Messager lately, when 
they announced from Berlin the death of Pro- 
fessor Flegel (Hegel) ; all the journals have 
repeated it. I have got at work again and live 
contentedly. I have not yet been able to write 
you about the theatres, although they occupy me 
a great deal ! But how unmistakeably bitterness 
and animosity enter into the smallest comedies ; 
how everything has reference to politics ; how 
the so-called Romanticism has infected all the 
Parisians, until they thina; of nothing at the thea- 
tre but the plague, the gallows, the devil and 
child-bed ; how one exceeds another in abomina- 
tions or liberalism ; and how in the midst of all 
these miseres and insanities a talent like Leontine 
Fay stands, grace and loveliness itself, untainted 
by all this absurdity, which she is obliged to utter 
and to act ; and how very strange all these con- 
trasts are, — of this another time ! Felix. 
I To be continued.) 



[The following interesting notice of the Artists' Exliibition 
was receiTed too late for our last number. We print it now 
entire, though it h-appens that several of the works alluded to 
have in the meantime been removed to make room for the 
new pictures noticed in the advertisement on first page, which 
truly states that the exhibition is now more attractive than 
at any previous time. The new hanging screen has just the 
right effectin subduing the glare of light overhead, and ren- 
ders the room much more pleasant.] 

For Dwight's Journal of Music. 

Artists' Exhibition,— Studio Building. 

The collection here of late has been more attrac- 
tive and varied in its choice and selection, than ever 
before daring the winter, and yet we regret to say 
less visited and encouraged than it deserves. 

Among the additions, works of very great merit, 
there has ost been placed here a remarkable copy, 
life size, of the beautiful Raphael, the San Sisto. 
Madonna at Dresden, reputed to be by the great 
German artist Retzsch, the illustrator of Faust and 
Shakespeare. It may well be. We have not seen 
in Europe or elsewhere anything so faithful and satis- 
factory. It is worth many engravings, giving soft 
and tender effects through chiaro-oscuro, which the 
cold burin can never reach ; feeling and mystery. 
The quality of the painting is unexceptionable. The 
drawing, the modelling, the harmony, tone, grada- 
tion and softened outline, delicacy of touch and fin- 
ish and handling are very beautiful. Here are divine 
eyes in human frames. They look out at you with 
seraph startlingness, as surprised to be here ; deepj, 



BOSTON, SATURDAY, MAY 31, 18 6 2. 



1/ 



withdrawn, unworldly, with expression inwoven in 
unfathomable depths of feelinij, and intelligence, 
foreign to mortal, familiar wilh immortal and spirit- 
ual existence. No picture in Europe fastens yoa at 
once undeniably and forever before it so much as 
this. Here we have the best reproduction of it we 
shall probably ever see. Had Raphael left nothing 
but this, he might stand as an unequalled artist by a 
single work. The coloring, harmonious, is perhaps 
a little wanting in richness, though the Madonna's 
face is very fine ; but the original has faded. Some 
experiment with balsam upon the back of the canvas, 
a few years ago, on the occasion of moving it to the 
new gallery, brought back the color like a glow or 
blush. AVe don't know how long this effect lasted. 
This is perhaps the first easel picture in the world, 
to all the world. Certainly so if we consider depth 
and marvellous character of expression. 

The "Vanderteld," is an excellent specimen of 
this fine master. For delicacy, aerial feeling, ten- 
derness and rich composition, with fine imagination, 
we shall not perhaps anywhere see anything better 
than this important composition. 

Besides these older works. Gat has two of his most 
successful pieces, inevitably silvery, light, chaste and 
refined in their rendering of the subtle and the less 
often noticed effects of nature, the gleam and radi- 
ance as of a bright glance, the dove-like tones and 
sparkling sheen, the clear, cool, beautiful greys and 
suggestive browns, palpable and dear to the artist 
eye. 

One most interesting piece we notice, calling up 
through its associations the fervor and passion ot 
youth, or gratifying the calm taste of age. A 
work by Severn, the friend of Keats. The stanza 
in " Adoniiis " might alone draw one to this work. 
Shelley thus celebrates the devotion of the painter to 
his poet friend. 

"What softer voice Ls hwshed o'er the dead ? 

Athwart what brow i.s that dark mantle thrown ? 

What form leans sadly o'er the white death bed 

In mockery of monumental stone, 

The heavy heart heaving without a moan ? 

If it be lie, who, gentlest of the wise. 

Taufrht, soothed, loved, honored the departed one, 

Let me not vex with inharmonious sighs 

The silence of that heart's accepted sacrifice." 
Severn recognized the genius of Keats and watch- 
ed by bis death bed. He has become historical and 
is embalmed in the amber of the Gods. This is a 
lovely conception admirably carried out, the color- 
ing and the painting of Ariel, and the truthfulness 
and force with which the bat's head is done are wor- 
thy of all praise. 

"On the bat's back I do fly 
After summer merrily." 
The profile portrait of a lady, by Alexander, is a 
felicity in the art. Happily dishevelled, it is extreme- 
ly elegant, having the grace of nature, refined and 
very delicate in color, reminding of Stuart and Sir 
Thomas Lawrence, but excelling the latter, being 
more simple and less mannered ; and in fact a hap- 
py bit of work as one will not often see, in a style 
vigorous, easy, and suggestive. Some might call it 
too slight, unfinished andt6ketchy,therefore slovenly ; 
but the mastery, and happy style and touch, the 
force and projection, are conspicuous. 

Too much of roughness, and too little of finish 
and solidity of work perhaps, are the faults of the 
very clever and masterly full length, by Hunt, of the 
late Chief Justice Shaw ; yet how else should we 
fairly give this massive, shaggy man ? He speaks to 
us with his countenance and head, and with big figure 
all over, in his proper character; the rough shock so 
full of strength and the broad cast so indicative of 
power. 

i The portrait across the corner of the room, by 
fSRACKETT, has much merit. A sweetness and sub 
lued harmony very noticeable, and something simi- 
jar may be remarked of the large portrait of a gentle 
jian by Ames. 



We love to find pictures where white paint does 
not glare upon you. Pure white is a discord in art 
never to be tolerated. Nature is not to be painted up 
to and literally reproduced, if this were possible It 
would not be art in any true or high sense. It must 
ever be symbolized and represented, indicated, sug- 
gested and implied. There must come into it the 
human feeling and sense of form and color ever 
varying with individual idiosyncracy. It will be a 
subjective as well as objective product ; the factor of 
mind as well as matter enters into the result. Could 
photography succeed in giving us color as well as 
form, it would ndt the more be Art. Feeling is a ne- 
cessary element to that, and of the prime ; and in no 
regard does art and architecture diff'er more, the ex- 
cellent from the indifferent and bad, than in the 
exhibition of th's quality. Without it art is as phot- 
ography, mechanical and emotionless. Artistic 
sense, a peculiar faculty, no more to be defined than 
poetry, which never yet yielded to analysis or was 
clipped into a definition, and yet is felt, appreciated, 
recognized and assented to, is wanted or painting is 
no art ; as rhyme and verse may be no poetry, though 
stuffing out the line and wearing the mask with ever 
so fair a semblance. 

The crisp, articulated piece of bank of rock and 
wild grass, fronting and looking out on an animated 
sea, a stirring, breezy water, by Mrs. Daeeah, is an 
excellent bit of landscape, and has qualities not often 
seen. We recognise in no other style of landscape 
familiar here, the same freshness and subtle, lively 
touch, giving the sense, movement and life to every 
part, as in some of the same artists' small pieces ex- 
hibited through the winter in Messrs. Williams & 
Everett's front room. There are no dreary wastes, 
dead inches of cold, flat, expressionless, lifeless work. 
This is a peculiar characteristic of Turner in his best 
period, peculiar in sea pieces, as " St. Michael's 
Mount," and " Fishing off Dover," where the whole 
surface of the canvas breathes the animation and stir, 
the life, change, variety, movement and surface of 
transforming and ever revolving nature, fleeting with 
shadows and stirring with air. These hear the mark 
of being done out of doors and have the salience, 
vigor and happiness of sketches, which are ever the 
quintessenceof impression and feeling, to bo worked in 
with thought and memory. In color too these works 
are strong, rich and excellent. 

Two pieces byBABCOCK are very remarkable. To us 
he is the most creative,original and ideal of our neigh- 
boring artists, and is to be classed with Billings for 
richness and height of fancy and fineness of genius ; 
for they both have it. He works to be sure mostly 
by color alone, simply by color, and disdains drawing 
somewhat too much. This may be allowed ; hut 
what sentiment and suggestion, fancy and romance 
he charges it with and makes it convey ! There is 
not much range ; hut neither was there in Stotherd, 
the Keats of painting, whom this artist very nearly 
resembles in conception, feeling and color ; but the 
exquisiteness and quality within that range are un- 
approachable. The boy reading is a tender and 
lovely bit of sweet feeling and simple sentiment and 
nature, very carefully articulated and drawn. The 
hair is yet in keeping, and one should be cautious to 
dispute conclusions with this wondrous imaginative 
sense, which is this artists' prerogative and gift. 
Rather let us think the defect is in us. Other Artists, 
for instance some on the adjoining wall, convey no- 
'hing, suggest nothing by high color. It is all posi- 
tive and literal, as wanting in sentiment as the taste 
of the negro, whose love of harmony never transfers 
itself or exhibits its presence through the eye ; gaudi- 
ness is the wear. 

If we seek for intensity of presentation without 
regard to form, and a feeling for rich color, pure yet 
not ideal or stimulating the fancy and feeling, and a 
lealine in purple till it becomes lurid, as in Mrs. 
Rosetti's work, morbidly almost, alive and creep- 



ing, or in delicate tints, lilacs, scarlets, blues and 
light vegetable greens, we must go to the modern 
pre-Raphaclites. Let us not scorn their aim and 
earnestness of purpose; there is genius showing 
through it, if they seem fundamentally wrong and 
perverse in their obstinacy. The reform they would 
introduce is to theoldvagueness and vapid generalities 
which preceded them and stood for nature, what 
Wordsworth is to the poets of the last century. — 
They have influenced, or rather the spirit of the age 
which produced them has influenced other Art prac- 
tice, as HoiDoeopathy.though not unimpregnable, has 
that measure of truth which has affected all other 
practice. 

The small water color by Tuener is especially 
valuable and interesting. One of the originals of a 
series of exquisite vignettes which adorn the illus- 
trated editions of Scott, Campbell and Rogers, en- 
graved under his own direction in company with 
Stotherd's exquisite designs, certainly the most beau- 
tiful books ever printed and only to be paralelled by 
the old Missals. A more lovely gem is not to be 
found. We had the good fortune at the Manchester 
exhibition, and oftentimes at Christie's or in some 
dealer's in Bond street from time to time, to see these 
works exposed for sale, and it was ever a treat to be 
enjoyed. The delicacy, aerial quality, softness, ten- 
derness, feeling for light and color, gradation, trans- 
parency and clearness of shadow, this inexpressi- 
ble quality, the very impress of sunny, rare nature 
idealized by poetic sentiment and charged with im- 
agination, large and running out in spirit into the 
infinite and mysterious, as all highest genius does, 
yet of a gentleness and ineffable touch sweet as in- 
fancy, free as thought — all belong to Turner. 

We have not given ourselves room to speak of 
the brilliant water colors by Hamilton", which are 
here, nor the remarkably powerful pieces by Mrs. 
BODISCHON, nor of the fine sepia drawings by 
Miss Clarke, which give one the very feeling of 
Italy, where the light of Heaven sinks into the deep 
embayed chestnut woods clothing the"many-folded" 
hills, and there seems to be a communion of feeling 
and interchange of lustrous glance and warm life in- 
terfused between the calm earth below and the un- 
troubled sky above — all breathing peace and happi- 
ness. Let those who have wandered near the baths 
of Lucca in summer time, recognize the charm. 

But if the Boston public value Art, let this exhi- 
bition be visited. In London or Paris at this season 
the room would be crowded. No better opportunity 
can be had within our reach of acquiring relish for 
Art or enjoying it when once had, than has lately 
been offered in this pleasant resort. It must be con- 
fessed Boston is backward in its knowledge and en- 
couragement of Art. There is not seen here, in this, 
the reflection of the cultivation,refinement and intel- 
ligence of the age, as in science, philosophy and lit- 
erature. We fear the community is in essence too 
Puritan (we mean in no offensive sense,but intensity 
with limited sympathies), intellectual and staid, ever 
to be impressible and artistic. Laudable attempts 
have been made, inducements offered, but the sense 
of enjoyment and the sustained interest are inherent- 
ly wanting. The neighborhood was a grave to 
Allston's genius, who would have been the first 
artist of the Anglo-Saxon world, had he lived in the 
old countries. Still Art growth and culture, so desir- 
able a resource here and qualification of the intro- 
verted and over, intellectual life, so productive of re- 
finement, and corrective to a harsh, literal, material 
life, unimaginative and cold, without the incentive 
to feeling and poetry a rich backward Past affords 
with all its wealth of ruin, tradition, association ; 
picturesqueness in costume and manners; variety in 
life ; cathedral, pyramid and immemorial stone ; 
study in forms and modes ; accumulated wealth of 
past genius, the evidence of man's life and labor for 



68 



DWIGHT'S JOURNAL OF MUSIC. 



countless fenerations inwoven and impressed on the 
face of nature and starting up in every land, must 
necessarily be slow. Let us not neglect our oppor- 
tunities to cultivate it. It is a duty perhaps ; as much 
as intellectual education, is the ^Esthetic. 

The courtesy and kindness of the owners who 
contribute these rare works, and the patience and 
modesty of artists who await recognition and en- 
couragement from a public they must themselves 
educate, cannot be too much commended. Those 
who have delighted in the annual exhibition con- 
tributed by private owners in London, called the 
British Institution, may entertain some hope of find- 
ing such a resource in future in this pleasant, taste- 
ful and successful building, whose riant and harmo- 
nious character and cheerful aspect, adaptation to pur- 
pose, and therefore constructive propriety, though in 
a Rococo style, are its own justification and invite 
one at once and hold one as by a spell. No addition 
to Boston streets of late years, or conspicuous erec- 
tion in a beautiful open neighborhood, equals it for 
character and attraction. It enlivens the street, and 
the more for the hideous and pretentious abortions 
that are next to it, and the sombre and too massive 
hotel. S. 



Handel and Haydn Society. 
Secretary's Report, Mat 26th, 1862. 
3Ir. President and Gentlemen : 

But a little more than one year ago, the dark, por- 
tentous cloud of Disunion — at first no bigger than a 
man's hand — burst on this, till then, happy and pros- 
perous people ; and the hydra-headed monster, Re- 
bellion, was let loose to scatter desolation and distress 
in his lawless pathway over our beautiful land. In 
the midst of all this tumult, how could Music, — 
sweet handmaid of charity and all the virtues — do 
more than raise her head at intervals to catch a 
glimpse of the events of the passing hour ; or it may 
be, to lend her soothing voice to the poor defender 
of her country languishing on a bed of pain, whom 
she had aided to go forth in the noble cause, or, when 
success had perched on the triumphant banners of 
the Union, rejoicing with those who rejoice, at the 
speedy prospect of a once more peaceful and happy 
country. This is no fancy sketch ; would that it 
were. 

In the early days of rebellion, when every heart 
and every hand was engaged in the work of preser- 
vation, this Society, desirous of aiding in the good 
work, however humbly, offered the proceeds of a 
concert, — given for the purpose of arming and equip- 
ping troops to go forth in the service of the country 
to the Governor of the State ; which oflTer was ac- 
cepted with gratitude by the chief magistrate, in the 
name of the Commonwealth. 

At a later period, when the army hospitals became 
filled with our brave men, either from sickness or 
wounds received on the field of battle, we again 
offered our services in the cause of the Sanitary 
Commission ; and the result was such as to gratify 
every friend of the soldier, and to send a thrill of de- 
light through the bosoms of those brave men at the 
thought that, though far away from those they held 
most dear on earth, and languishing on beds of sick- 
ness and pain ; they were not forgotten. 

To those artists who assisted us in giving so sue" 
cessfully the two concerts mentioned, the Society 
would acknowledge obligations. 

When, after a long series of disasters, our arms 
were at last crowned with victory, and rebellion had 
met with serious checks, the Handel and Haydn So- 
ciety, — in sympathy with the whole community, — 
offered np a Grand " Te Deum " and a " Hymn of 
Praise " in gratitude to an all-wise providence, for 
our successes ; and a multitude of listeners, — promi- 
nent among whom were the chief magistrate of our 
State, surrounded by a body of officers just released 



fi'om the prisons of a Southern city, testified to the 
peculiar fitness of the entertainment to the occasion. 
Such, Mr. President, is a portion of the record of the 
Handel and Haydn Society during the twelve months 
last passed. 

In addition to the concerts before named, — in ac- 
cordance with Jong established custom — " The 
Messitih " was given, at Christmas ; and " The 
Creation " was also performed at Easter ; making in 
all four concerts since the annual meeting of last 
year ; the concert for raising funds for the troops 
having been given just previous to that time. 

The weekly rehearsals of the society. — since the 
commencement of the season in October, — have been 
very well attended ; though large numbers are in 
the constant habit of absenting themselves until on 
the eve of a performance ; much to the annoyance 
of those who are more constant in attendance ; and 
to the serious detriment of a correct performance of 
the Oratorio. 

At the suggestion of your Secretary, in his last 
annual report, a committee was appointed to consider 
and report on this and other grievances referred to 
in that report ; including also the subject of an as- 
sessment. That committee entered upon their duties 
with a full determination to get at the true state of 
the case. After a very careful investigation of the 
whole subject, an assessment on each of the mem- 
bers was reccommended as a necessity, and other im- 
portant changes were also proposed ; but in view of 
the critical state of the times, it was decided, by the 
Society, in a meeting called expressly for the pur- 
pose, to let the proposed changes lie over for a time ; 
which was undoubtedly, a judicious conclusion to 
arrive at, under the circumstances. 

Five gentlemen have been admitted tomember.ship 
during the season, and four have received an honora- 
ble discharge from the Society. 

The number of those who may have been removed 
by death is not known ; but one,who for a long series 
of years served you as your secretary, has been call- 
ed to his last account. Wm. Leaenard closed his 
earthly labors on the evening of our last annual 
meeting ; and this simple announcement is intended 
as an humble tribute of respect to his memory. 

Some of our most active members are fighting the 
battles of our country — our President too has volun- 
tarily gone forth in the noble work of alleviating the 
sufferings of the sick and wounded — and others ot 
our number have left the city for more lucrative em- 
ployment than could be obtained here ; so that our 
chorus has not been so full as in some past seasons ; 
yet we have been enabled to produce the great Ora- 
torios in a creditable manner. 

A few incidents in the past history of the Handel 
and Haydn Society, which I shall refer to very brief- 
ly, may not be unprofitable at this time, and I know 
you will pardon me for this digression from the main 
subject. The act of incorporation under which the 
Handel and Haydp Society is organized, bears date 
Feb. 1816, to which is attached the signature of 
Caleb Strong, Governor, and the broad seal of the 
old Bay State. From the date of our oi-ganization, 
(which was one year previous to the date of 
the act of incorporation) to the present time, — a 
period of nearly half a century — this society has been 
earnestly engaged in the labor of bringing before the 
public the great works of the greatest masters of the 
musical art that the world has ever known ; and, 
without more than a passing word relative to the 
complete revolution that was brought about through 
the instrumentality of the Handel and Haydn Socie- 
ty in the music of the church during the early days 
of our organization, I shall refer, in a very few 
words, to the charities of the Society, which have been 
extended over the the -whole term of our existence, 
whereby thousands of dollars have been obtained, 
through our public performances, and distributed to 
the poor and destitute around and among ns. Han- 



del's Oratorios were first produced in the cause o 
the poor, and we have found the performance of the 
" Messiah " to be a fruitful source of income for 
similar purposes. 

Wo have united our voices with those of our own 
city government and others on various occasions o 
festivity and mourning ; and whether in celebrating 
tlie introduction of the Cochituate Water to our 
dwellings, in "Thanks to God" for the priceless boon ; 
or the erection of a Statue to the patriot Warren 
under the shade of yonder granite shaft ; or engaged 
in the more solemn service of chanting a requiem in 
memorv of a departed chief magistrate of the nation, 
or of our own great New England statesman ; the 
service was ever cheerfully performed. Is not the 
record of the Handel and Haydn Society sufficiently 
honorable and useful to enlist the sympathies and 
support of a community like this in ourbeh.alf ? 

We have, by the most unwearied exertions, and 
by pursuing a straightforward course, established for 
ourselves an honorable name both at home and 
abroad : but we need something more than an hon- 
orable name, however much we may prize that de- 
signation ; we need a Fund, and it is due to the city 
of Boston that an institution whose record is as clear 
as ours, should not be left to struggle on in this un- 
certain manner ; compelled to count the cost and 
calculate the chances of success before entering on 
the performance of any work, however meritorious 
it may be. We are also debarred,fortbe same reason, 
from the purchase and importation of new music of 
real worth that we should otherwise obtain for prac- 
tice and performance ; yet fwe have never allowed 
these undeniable fiicts to gain possession of us to the 
exclusion of all others ; for while practicing the most 
rigid economy in every department, and thoroughly 
weighing the chances of pecuniary success or loss, 
we are ever ready to sieze on every opportunity, for 
presenting to the public such works as we may from 
time to time obtain, which may be calculated to 
please or instruct. Through the liberality of our able 
and accomplished Conductor, Mr. Zerrahn, and 
our no less able and accomplished Organist and 
Pianist, Mr. Lang, — who both met us at the com- 
mencement of the season in a manner corresponding 
with the times — we have been enabled to go through 
the season without loss ; and the thanks of this Soci- 
ety are due to those gentlemen for this result. 

To more firmly unite the members of this society, 
one to another — to strengthen — to elevate the society 
as a whole up to the highest point of musical culture 
as a choral body, should be our aim and constant 
endeavor ; and though stringent rules and rigid dis- 
cipline, and attentive and constant rehearsals are 
absolutely necessary, yet it is idle to suppose that the 
high degree of excellence sought can be attained 
without a due regard to the social element as well as 
the disciplinary. There is too little of the social ele- 
ment in our organization and too much coldness and 
reserve, which it should be our aim to overcome. 
A social gathering of some description at the close 
of, or some time during the season, we are confident, 
would very materially increase the interest of mem- 
bers, in all things relating to the affairs of the Socie- 
ty. The hope that this suggestion may be deemed 
of sufficient importance hereafter to induce a trial, is 
the only remark I shall offer on this subject at the 
present time. 

A more evenly balanced choir as to numbers and 
strength of voice on each part, is another very impor- 
tant consideration. This may be a difficult matter 
In consequence of a natural preponderance of Soprano 
over Contralto voices ; and of Basses over Tenors ; 
but a more perfect balance than that which we usu-j 
ally have, we are confident may be obtained ; though. 
I say it with all due deference to the Committeei 
having this matter in charge so far as relates to our! 
Soprano and Alto choirs. , 

In England, — where they have reduced the subject) 



BOSTON, SATURDAY, MAY 31, 18 6 2. 



69 



of a perfect balance of parts to a mathematical cer' 
tainty as to effects, — the result has been demonstrated 
than an equal number of voices on each part is far 
more effective in a large chorus than any other com- 
binations. So too with the Band accompaniment, a 
larger number of middle instruments — as second 
violins, violas and violoncellos — are now employed 
than formerly ; and the effect is fonnd to be vastly 
more majestic and grand in the great Oratorios of 
Handel. 

While on this subject, allow me to revert briefly to 
a few matters connected with the great Handelian 
Triennial Festival to be held at the Crystal Palace 
in London during th ! last week of June. The divi- 
sion of the choir is as follows : 810 Sopranos, 810 
Alto, 750 Tenor, and 7.')0 Bass, making a chorus of 
3120 thor uirhly trained voices; and the Orchestra, 
or Band as it is termed by them, consists of 98 first 
Violins and 98 second do., 75 each Violas, Violon- 
cellos and Double Basses, together with 86 Wind 
instruments properly distributed, making in all 505. 

The division of parts in the Concerts of the Sacred 
Harmonic Society is slightly different, 130 voices 
to each part, making a chorus of 520 in the regular 
concerts of the society, with an orchestra of 121. 

In a pamphlet prospectus of the coming festival, 
issued by Mr. Manager Bowley, we find the follow- 
ing in reference to the great festival of 1859, when 
twelve hundred were gathered together, independent 
of the Band, in the performance of Handels' Orato- 
rios, lie says : " For the last day's performance in 
1859 the sum of " Sixteen Thousand Pounds was 
received for tickets " ! and adds : " with what addi- 
tional satisfaction must this be regarded, when it is 
borne in mind that this unparalleled amount was 
obtained by the representation of that stupendous 
masterpiece of musical art, '■ Israel in Egypt," the 
Oratorio of Oratorios ! It has taken one hundred 
and twenty years to arrive at a full appreciation of 
its merits " ! 

As to the excellence of the performance of "Israel 
in Egypt," and the effect thereof, M. Meyerbeer is 
quoted as having declared that, " with all his life- 
'ong varied experiences of the greatest musical 
solemnities in all countries, " Israel in Egypt," at 
the Handel Festival, had far surpassed them all." 
And yet when this same great work was performed 
here, by the Handel and Haydn Society, some two 
or three years since, — and well performed too con- 
sidering the inadequacy of the choir as to numbers 
to give this massive composition its full effect — the 
carping critics brought all their mighty batteries to 
bear in a flood of ridicule not only upon the Oratorio, 
but on the Society for resuscitating a work that had 
long been shelved, as they said in England, and 
should be bui'ied so low here as never to reach the 
daylight again ! 

The Musical Festival of 1857— the first of the 
kind ever attempted in this country, inaugurated and 
successfully carried through by this Society — demon- 
strated, beyond the shadow of a doubt, the feasibility 
of bringing together large bodies of competent vocal- 
ists at stated periods for the performance of the great 
Oratorios of Handel, Mendelssohn, and others ; and 
also an audience to sustain the great undertaking 
with hearty and substantial support. 

The experience of that period should not be thrown 
away ; a festival of majestic proportions should be 
given in Boston, triennially, at least ; and we are 
sanguine in the belief that each recurrence of such a 
festival would be hailed with delight by both per- 
formers and auditors. Such festivals should be 
participated in by all who are competent to a dis- 
charge of the duties imposed — the proper rendering of 
I those massive works of genius that so electrify the 
English people. The best singers in our City and 
' Suburban choirs would consider it a privilege to 
unite with others, for such a purpose ; and a chorus, 
such as has never yet been heard in this country 



would thus be gathered at stated periods ; the indi- 
vidual members of which would derive a beneficial 
experience to be obtained in no other way ; and in 
the place of the operatic light and trashy music too 
often heard in our houses of worship at the present 
day, the taste of those having this department of 
worship in charge would be elevated and improved, 
and a more devotional style of music, it is hoped, 
would take its place. 

A glorious future I am confident, is before us, if 
we but adhere to tlie principles of the founders of the 
society, and the course so long and so successfully 
pursued by them, which has caused the name and 
fame of the Handel &, Haydn Society to be respected 
by all true lovers of sacred music, both at home and 
abroad. 

Eespectfiilly submitted, 

LoRiNO B. Barnes, Secretary. 



London. 

Opening op the International Exhibition. 
— We take the following account of the performance 
of the music (having already copied an analysis of 
the compositionsj, from the Musical World of May 3. 

The ceremonial music on Thursday was a triumph- 
ant success. As was expected, the enormous crowd 
of people exercised a salutary influence in checking 
and concentrating the body of sound. In the verses 
of the National Anthem, which should have preced- 
ed the address delivered by Lord Granville (but were 
really sung while he was delivering it at the other 
end of tlie building), and the procession up the nave 
to the eastern dome, the women's voices came upon 
the ear with a clear .tnd silvery tone that was emin- 
ently musical and delightful. In the responses with 
full chorus and orchestra, it is true, the reverberation 
might be described as excessive, if placed in com- 
parison with what it wonld be in an ordinary concert 
hall, on however large a scale ; but th'S drawback, 
which all musicians knew to be inevitable, was 
condoned in a great measure by a peculiar mellowness, 
softening the asperity of the louder instruments, and 
by a certain indefinable grandeur to which it were 
vain to seek a parallel, except at the Handel Festival 
in the Crystal Palace. But the National Anthem to 
English ears sounds gratefully and well under any 
conditions, always excepting those to which it is oc- 
cassionally submitted at our Italian Opera Houses. 
The real test, both of chorus and orchestra, was to 
come. 

The " special musical performances" commeiiced 
with the magnificent piece which, under the name of 
"Ouverture en forme de marche," the most celebrat- 
ed composer now living, and still incessantly and 
busily engaged in the pursuit of fame, has contrib- 
uted to our great industrial festival. Though per- 
haps, on the whole, not more carefully executed, or 
with more precision, than at the rehearsal on Wednes- 
day, the effect of the overture was,for obvious reasons,- 
at least thrice as great ; and this must have been ad- 
mitted by M. Meyerbeer himself, not the least re- 
markable personage among the brilliant assemblage 
near the eastern dome. 'The "Triumphal March," 
with which it opens, played as it was by the giant- 
orchestra of picked musicians and first-class ama- 
teurs, would have roused the ardor of ever so phleg- 
matic and unwilling a hero. The " clang" of the 
wind instruments, imposing and superb,nevertheless, 
allowed the "strings," high and low,to speak out and 
be heard. The richly developed melody of the 
"trio" — where the army of violins sounded as a 
single fiddle, with such close precision were they 
handled, while the bright touches which the master 
has laid on so delicately in the "wind" parts brought 
out the leading theme in all the stronger prominence 
— was felt as an exquisite relief, the war-march on 
its re-appearance seeming to have gathered two-fold 
pomp and splendor. 'The Marche Eeligieuse was 
played to absolute perfection. At the end — where 
the sounds die away into "pianissimo," the violins 
dwelling upon the highest notes of the register had 
an effect quite novel and delicious. Notwitlistand- 
ing the rapid rate at which Mr. Costa took the last 
movement — the "Quick March" (or "Pas Redouble") 
— its crisp and lively theme assailed the ear with 
marked and singular distinctness. In the exciting 
passagje of "crescendo" — which accumulates force at 
every step, until the proudly defiant air of " Rule 
Britannia" proclaims the triumphant climax, the 



shrill tones of the piccolo, the serried roll of the 
kettle drums, and the penetrating notes of the clarion 
deciding the martial character of the ensemble — the 
happy device by which the composer gradually an- 
nounces the advent of our naval^Song of Victory, 
came out almost as emphatically, and with as much 
point, as at the first rehearsal in Exeter Hall. — 
Such, at least, was our own impression from the 
south-eastern gallery. The fugue, too, of which 
"Rule Britannia" constitutes the leading subject — 
amid all its elaborate contrivances of counterpoint, 
ingeniously distributed among the various instru- 
ments — was just as clear ; and tlie coda, where the 
host of fiddlers, screaming, as it were, for predom- 
inance, strive with continually augmenting power to 
drown the familiar phrases of that noble melody — 
but vainly, inasmuch as it is heard in all sorts of un- 
expected places, vigorous and invincible as when it 
first bursts forth — wound up with brilliancy a per- 
formance that, even regardless of the exceptional 
conditions under which it took place, was one of 
the grandest we remember, and which must assur- 
edly have satisfied M. Meyerbeer. 

Mr. Costa now yielded the baton to M. Sainton, 
but remained in the orchestra near the condnctor's 
place, while that gentleman directed the perform- 
ance of the Ode which our Poet Laureate and our 
Cambridge Professor of Music conjointly furnished 
for this memorable occasion. The new composition 
of Professor Sterndale Bennett loses nothing by 
closer familiarity. The admirable verses of Mr. 
Tennyson could hardly have been wedded to music 
in a more kindred spirit. The execution of the 
work was happily all that could have been wished. 
The opening corah — 

'■Uplift a thousand Toices full and sweet, 

In this wide hall with earth's inventioDS stored. 

And praise the invisible, universal Lord," 

— the appropriate thank-offering at this important 
festival was sung with remarkable decision, and a 
justness of intonation that never seemed to waver. 
The effect of the trumpets, giving out the melody of 
the corale in unison with the upper voices, was ex- 
tremely solemn and impressive. The next move- 
ment, in the minor key — 

" silent father of our Icings to be. 

Mourned in this golden hour of jubilee, 

For this, for all, we weep our thanks to thee? " 

— must have made its way to the hearts of all the 
vast assembly. Had an illustrious lady, whose gentle 
rule is one of the dearest privileges of this great 
country, been present at this performance, she conid 
hardly fail to have been moved by a passage in which 
poet and musician have vied with each other in giv- 
ing forcible expression to a sentiment that is unani- 
mous among us. We knowof nothing more pathetic 
than the treatment of the last line, where the words 
" We Aveep " are reiterated, in touching and plaintive 
harmony, as though the asseveration could not be 
made too often. Here the power of embodying deep 
feeling possessed by music is strikingly exemplified. 
Mr. 'Tennyson was happy in being associated with a 
musician able to appreciate a thought which in deli- 
cacy he himself has rarely surpassed, and, more- 
over, to give it ample and sympathetic expression. 
The members of the chorus, too, seemed to 
enter into the sentiment both of poetry and music, 
and delivered the passage from beginning to end as 
if they thoroughly felt its significance. The enume- 
ration of the wonders of the Palace, which comes 
next, was not quite so satisfactory, although one 
part of it (and that the most melodious and graceful) 

" And shapes and hues of Art divine," &c. 
— was irreproachable. The choral recitative a la 
Mendelssohn (" And is the goal so far away ?") ; the 
reference to the opening corale — 

" Oh ye, the wise who think, the wise who reign," 

and the whole of the final chorus — in which the com- 
poser borrows the theme of the corale, to extend and 
develope it into a movement of sustained beauty and 
interest, as melodiously flowing as it is full of senti- 
ment — offered no point for criticism. A marked 
impression was created by the passage in unison to 
the words — 

" Breaking their mailed fleets and armed towers, 
And ruling by obeying nature's powers." 

— one of the most original and impressive in the Ode. 
The orchestral accompaniments were beyond re- 
proach ; and indeed the gener.il execution of Profes- 
tor Bennett's unaffectedly beautiful work was credit- 
able to all concerned — in an equal degree to singers, 
plaj'crs, and conductors. 

'The overture of M. Anber wound up the " special 
music " with extraordinary spirit. Mr. Costa (who 
after the Ode resumed his position at the head of the 
orchestra) directed the performance with his wonted 
energy; and certainly had the renowned French 
musician been present he would have found little to 



70 



DWIGHT'S JOURNAL OF MUSIC. 



complain of. The slow movement, for cornets and 
trombones, wns almost as elcar in its details as if the 
performance had taken place in the Jlanover Sqnare 
Kooms or St. Jnmcs's Hall. The tones of the firas.^ 
instrument.^, .softened and mellowed, indeed, hy the 
vastness of the arena over which they were compcHcd 
to travel, ha I a peculiarly charminp: effect. The 
M:irch,so broad, viirornns, and inspiritinjr ; the beau- 
tiful phrase of melcdy for the violin.s,wIiich contrasts 
with it so pracefuUy ; tlie stirrincr ritornpVe^ with its 
trills in the acute register of the first fiddles, and its 
quaint " pizzirain^' for the rest of ttie strintred instru- 
ments ; and, lastly, the n-ny and animated cof/rj, which 
officiates as " /ws rcdouhle" — in a work not only 
brilliant as a whole, but piquant and lively in every 
part, the composition of wliich by one something 
more than an octofrenarian is a feat without parallel 
— weie, one and all, brouirht out with remarkable 
point and clearness. Nothincr cnuld have been writ- 
ten better calculated to occupy tlie place assij^ned to 
this very capital overture, or to leave that sense of 
tinalloyed and pleasurjihle enjoyment which it is so 
frequent a privilcnre of M. Auher's music to create. 
" To him, as to M. Meyerbeer and Professor Stern- 
dale Bennett" — s.ays the Times — "the thanks of Her 
Majesty's Commissioners in particular and of the 
public generally are due. Never ^\■cre tasks gratui- 
tously undertaken accomplislied more worthily, or 
with a more evident desire to show that the labor, 
though gratuitous, was one of love. From Professor 
Beimet, as an Knglisliman, this was to he expected 
as a matter of course ; hut from the distinguished 
foreigners with whom lie had the honor to be associ- 
ated, althongh it was pretty sure we should get noth- 
ing indifferent, we had scarcely a right to look for 
compositions so far ,ibove the ordinary mark as to 
encourage a belief that they may be destined to a 
place among the lasting products of genius." 

How Handel's mighty choral hymns^the " Halle" 
lujnh " and "Amen" from tlie Messiah — which 
coming directly after the prayer of the Bishop of 
London, Ibrmcil a portion of the religious ceremony, 
lo\iered above everything else in sublimity, it is 
almost superfluous to relntc. Tlie mnltitudinous 
shouts of praise and glorification ; the tremendous 
declarations of faith, in those most impressive and 
wonderful of choral unisons — " For the Lord God 
omnipotent reigneth," and " He shall reign for ever 
and ever," the reiteration of the attributes and digni- 
ties of the " Almighty," where the voices, soaring 
upwards, scale by scale, convey an idea of limitless 
aspiration, in the " HalleUijah ; " and the astonishing 
grandeur of the '■ Amen,"— an instance of power 
accumulating and advancing through successive 
stages up to an overwhelmihg climax, unparalleled 
in choral music — made their accustomed impression, 
edifying and deligluing ail hearers in an equal meas- 
ure. That they were superbly delivered will be at 
once believed. With an orchestra and chorus of such 
unusual magnitude and unprecedented efficiency, this 
could hardly fail to be the ca,se. Why, however, they 
should be joined together at the expense of the 
" Hallelujah," upon which imperishable masterpiece 
profane hands have been laid, to fit it to the emergen- 
cy, it is difficult to see. The two choruses, which 
belong to difl^'erent parts of the oratorio, have nothing 
in common but their sublimity. Moreover, being 
both in the same key of P, they could have followed 
each other in due course, without either being cut 
and maincd ; or if this was found impracticable, one 
of the two should have been dispensed with. 

After the " Amen " the National Anthem was 
again sung, and with this the music to the religious 
part of the ceremony came to a conclusion. The 
Duke of Cambridge then rose, pnd in a loud voice 
said, by command of the Queen, I now declare the 
Exhibition open." The trumpets of the Life Guards 
saluted the announcement with a prolonged fanfare, 
and the crowd echoed it back with a cheer, which 
was taken up and speedily spread from one end of 
the building to the other. 

RoYAi, Italian Opera. — {From the Musical 
World, May 3. — The PropJigle was repeated on Sat- 
urday and Tuesday. The cast is the same as last 
season, comprising Mad. Csillag, as Fides ; Mad. 
RudeisdorflT, Bertha ; Jean of Leyden, Signor Tam- 
berlik ; Oberthal, Signor Tagliafico ; and three ana- 
hapti.sts, Signors NeriBaraldi and Polonini and M. 
Zelger. M. Meyerbeer, who has arrived in London 
for the purpose of hearing his new march-overture, 
written for the Exhibition, must surely be gratified 
to find his operas in such favor with the fastidious 
audiences of Covent Garden. 

Meyerbeer's Dinorah was given on Monday night 
for the firet time this season, and introduced Sig. 
Gardoni in his original character of Corentino. The 
cast was, we believe, identical with that when the 
opera was first produced, and included Mad. Miolan- 



Carvalho, as Dinorah ; M. Faure, as Hoel ; Mad. 
Nantier-Didiee, as the female, and Sig. Neri-Baraldi, 
as the male goatherd. Sig. Gordoni made his first 
appearance these two years, and received the welcome 
(hie to his abilities. Sig. Gardoni make his first ap- 
pearance in England in 1847 — the ,Tcnny Lind epoch 
— at Her Majesty's Theatre, and was then very 
young. Ilis voice now appears in as good condition 
as when first we heard him. This is to be attributed 
to an excellent method — the true Italian method — 
and to the fact that he has never sung in any of the 
grand French operas. That Sig. Gardoni sings the 
part of the half-witted piper in Diiwrnh to perfection 
no one will deny, nor that he shows greater vocal 
skill in the music of Meyerbeer than in that of Kos- 
sini. His forte lies in the sentimental line, and his 
voice, in its sympathetic quality, seems to have been 
intended by nature for love essays. Mad. Miolan- 
Carvalho has made her reputation in England in 
the character of Dinorah. Dinorah, in fact, is her 
nheralrk halaille. M. Faure's Hoel was as masterly 
as ever, nor did he ever sing the music more admira- 
bly. The house was not full, hut it was an "extra" 
night, and the Easter holidays were not quite over. 

The Tiwes of May 6, describes the re-appearanee 
of Adelina Patti, in the Smmawbiila, the character in 
which her earliest laurels at Covent Garden last year 
were won : 

The brilliant reception of last night gives fair 
reason to believe that the interest in Mademoiselle 
Pajti will he maintained this season at its height. 
What was written on the occasion of her first per- 
formance might be repeated almost word for word, 
and apply just as well. We can detect, indeed, bnt 
little diflf'erence. Her voice seems to have gained in 
power, and her singing is spontaneity. But the pe- 
culiarities of her vocalization — its technical defects 
no less than its indefinable cliarm, its occasional de- 
relictions from severe purity of style no less than its 
warmth of expression and engaging tenderness, tho=e 
beauties and these faults, in short, wliich makes up a 
sum-total as irresistibly captivating as it is unhack- 
neyed — remain much as they were before. As an 
actress, Mademoiselle Patti lias made a decided ad- 
vance. We can recall nothing more graceful, nothing 
more impassioned, than the scene of the bedchamber, 
where the distracted Amina strives in vain to per- 
suade Elvino of her innocence. It was difficult to 
account for the stubborn incredulity of her lover, so 
earnest was her manner, so eloquent her appeal, so 
heart-rending her agony of dispair. Nor do we re- 
member to have seen an audience so thoroughly 
moved to sympathy. The fall of the curtain was a 
complete triumph for Mademoiselle Patti, who Avas 
recalled before the lamps, to be literally overwhelm- 
ed with applause. The mill-scene was, in another 
way, quite as impressive. To endow with more ex- 
quisite sentiment the beautiful slow movement, "Ah 
non eredea mirarti," would be simply impossible. 
So perfect was it, indeed, that we were almost angry 
with the descending scale — beginning with " E flat, 
in alt," (our readers must pardon the technical allus- 
ion) — which, however capitally achieved, seemed out 
of sorts with an exhibition of such deep feeling. — 
The final rondo, "Ah non giunge," was, of course, a 
brilliant display, and, of course, the second verse was 
overloaded with ornaments ("Jioriture" ) m^^fi " tours 
de force." It told in the " bravura" style ; it told its 
tale nevertheless, as from time immemorial. Again 
Mademoiselle Patti was recalled, and again honored 
with such a tribute of applause as can only be 
elicited when an audience has been roused to enthu- 
siasm. 

Signor Gardoni — probably as excellent an Elvino 
as the Italian stage at present can boast — sang all his 
music well (the famous scena, "Tutto e sciolto," ad- 
mirably) ; Signor Tagliafico was as gentlemanly a 
Count as conld be imagined ; and Madame Taglifico 
as pert and malicious a Lisa. The bouse was 
crowded, and among the audience were MM. Mey- 
erbeer and Verdi, whose presence no doubt stim- 
ulated the performers, one and all, to unwonted 
exertion. At any rate Bellini's delightful pastoral 
has seldom, on the whole, been better done — even at 
this theatre. 

To-night Sig. Mario makes bis first appearance, 
the opera being Un Ballo in Maschera. On Thurs- 
day the So7inambula will be repeated. 

Sig. Verdi's Cantata, written for the opening of 
the International Exhibition, but excluded from per- 
formance, was to be pfoduced at Her Majesty's 
Theatre with full band and chorus, under the super- 
intendence of the composer. The solo parts, intend- 
ed for Tamberlik, have been altered for Mile. Titjens 
by Sig. Verdi. 



Sbigljfs loiirna:! of Mmt. 

BOSTON, MAY 31, 1863. 

Music in this Number. . — Continuation of Chopin's 
Mazurkas. 



Concerts of the Week. 

Ohchestral Uniox. — The sixteenth and 
last of the pleasant Wednesday Afternoon feasts 
of orchestral music took place this week, and was 
a particularly good one. Programme, weather, 
audience, — hundreds of fresh and eager listeners, 
out of the thousands from all parts of the coun- 
try thronging the city this week to attend the re- 
ligions and philanthropic Anniversaries. — young 
patriot soldiers, too, suddenly summoneiJ for a 
supposed emergency to Washington, whose ser- 
vices after all were not required, — the unusual 
life and social stimulus of sucli a week, all con- 
spired to give new interest to the bright and 
peaceful hour. A more brilliant array of salient 
youth and beauty, with richer relief of experi- 
enced, thoughtful, philanthropic faces, has seldom 
graced the Music Hall. And for the emotions of 
such a week with its two-fold excitement, the re- 
ligious and patriotic, what word more fit and 
timely than a grand Symphony of Beethoven, 
with the grand image of the composer looking 
down there on the orchestra ! 

The programme was the best that we have yet 
had for an afternoon ; and the attention with 
which such a list of solid works was followed by 
so large and in great part so young a crowd (al- 
ways allowing for little eddies of ill-bred whisper 
and disorder here and there in corners) does 
show real growth of public interest in good music. 
First carne Beethoven's fiery, concise, pathetic, 
tragic overture to ' 'Egmont " — music all in earn- 
est— ;no dilettante dallying and waste of feeling ; 
the temper of the week could feel the force of 
such a work better than usual. A Strauss Waltz 
followed, called " Gedanken Fluif (flight of 
thought) — to the end, we suppose, that thoughts 
might fly away, and gay life dance in the eyes, 
and almost in the feet, of youth. A brilliant, 
pretty thing for recreation. Then serious 
thought, with depth of feeling, and high kindling 
enthusiasm, taxing all the attentive and respon- 
sive faculties, came back, aud for a longer spell, 
with the sublime Seventh Symphony. In spite 
of the want of a sufficient mass of stringed in- 
struments to balance and to blend the rest, it was 
so rendered as to hold the general attention to 
the end. The two middle movements, — that 
mysterious, solemn Allegretto, and the Scherzo, 
with the whole heavens opening upon its climax 
of joy in the Trio — were much applauded. 

Mr. WuLF Fries stole away the hearts, at all 
events the fresh ones, of his audience, by the 
sweet, rich tones, especially the harmonic echoes, 
of his violoncello in a little solo by Alard, called 
"Sounds from the Alps." It was both short and 
sweet, and he was forced to repeat it, the sover- 
eign will of the people being peremptory. The 
soothing, mellow horn-toned, beautiful Nocturne 
from Mendelssohn's "Midsummer Night's Dream" 
music woke far other and not less entrancing 
echoes in the soul. Finally, with its luxury of 
color and superb contour, Rossini's Semiramide 
overture — the most effective rendering of that 
afternoon — brought the concert, and the "season" 



BOSTON, SATUEDAY, MAY 31, 186 2. 



71 



to a lively and refreshing termination. Thank- 
ing the orchestra and their conductor, Mr. 
Zerrahn, for so much that has been good dur- 
ing the winter arid spring, we must now content 
ourselves to forego the sound of orchestras until 
the summer of Nature shall give way once more 
to the social summer of the cold months. 

Musical Service Ekppiated. — St.F.iul's clinrcli 
was perfectly crammed again on Mnnrlay evening, in 
spite of the military excitement outside, with listen- 
ers to Dr. Tuckerman's interestins array of speci- 
mens of Church Music from the fourtli century to 
Rossini's Quando Corpus. 

Part I, a mixed prelude to the historical scries, w.is 
the same as before. We foimd the interminable 
monotone of the introductory sentence of Tallis's 
old Cathedral Service just as torturing, and the com- 
monest chord cadence, when it did come at last in 
the Amen, just as refreshing, and oven magically 
startling in the midst of such a dry Sahara. AVe 
were more struck, too, on an second hearing by the 
solid excellence of some parts of Dr. Tuckcrman's 
own Te Dawn, Benedictus, and Quartet for female 
voices. 

Part II, was changed in one number ; Stradella's 
" Pieta Signore" bass solo, being substituted for an 
English anthem, and admirably sung by Mr.PowEKS ; 
and the organ accompaniment gave it a very antique, 
sombre, interesting background. Otherwise this part 
of the programme stood as before. First came the 
ancient monkish specimens : the Ambrosian Chant 
(A. D. 384), eight bars of not so much melancholy 
as listless unison, in a minor key ; the plain chant by 
Guido (A. D. 1022), eight bars of unison equally 
empty, only major ; tiie " Diaphouia," setting teeth 
on edge with fifths and fourths(thirds and sixths being 
then considered syrens of this world) ; a Harmony in 
Two Parts (Senerf(c(»s), by Franco (A. D. 1100), 
seven bars, containing harmony indeed, but of a sour 
kind ; aud a lengthy English Te Deum of the six- 
teenth century, by John Marbeck, all in unison, and 
humdrum. 

Then came, as before, a beginning of real music, 
developed in full, flowing eonnterpoiut : the Lainen- 
talio (brief sentence for four voices, sad and touch- 
ing) and the superb Sanctiis, by Palestrina. Then 
Farrant's anthem (lOth century), and the bass Solo 
by Stradella ; and then, what probably by its great 
fame drew more people than any other piece, the 
Miserere by AUcgri (A. D. 1635). This strangely 
impressive old composition contains far less than one 
commonly imagines after listening to travellers ' 
reports. About twenty measures of the same tune, 
same harmony, are repeated five or six times over to 
the different sentences of words, the only variation 
being in the breaking up of long notes by short syl- 
lables, and a few bars of final Coda. A choir of five 
voices (two soprani, alto, tenor and bass) alternates 
all the time with a choir of four (soprani, alto and 
bass). The first choir delivers its whole message in 
eleven bars of solemnly and curiously interwoven 
harmony in G minor. The second choir continues the 
story in the same style in ten bars. That is the whole of 
it. But there is something exceedingly grand, solemn 
and unusual in these chord processions. All is in 
keeping, and we can well imagine that, with all tlie 
accessories of Holy Week in Rome, and with the 
traditional modulation of the voices of the Papal 
choir, it must produce a deep effect. Intrinsically 
as a musical composition, it contains very little. And 
some writers maintain that Allegri really furnished 
nothing but these twenty bars of melody, and that 
the harmony grew upon it by a long series of im- 
provisings of parts by the Pope's singers. There is 
always a charm attaching to that which grows and is 
not made. 

The "Offertoire" for the Organ, introduced now 
by way of enterlude, a fantasia-like, modern com- 



position of much beauty, by Lefebre Wely, organist 
at the Madeleine in Paris, was played very skillfully 
and cleanly by Dr. Tuckerman. The series was re- 
sumed by a Verse Anthem by Croft (18th century), 
full of solos rather long and tedious, and with con- 
certed and chorus passages, ratlier in the Matthew 
Locke style, as so much old English music is. The 
Chorale by SEnASxiAN Bach was still, to our fi;eling, 
the great religious piece of the evening. The two 
selections from Haydn's Masses were beautiful and 
finely sung. The Trio {A?upliiis lava me) liy Sarti 
seemed a good clear specimen of harmony, not strik- 
ing. Cherubini's Ai^e J\hiria was touchingly sung 
Miss Washburn ; Mcndelspolui's Choral (from "St. 
Paul") was only less profoundly impressive after 
Bach ; Rossini's Quando corpus was certainly accept- 
able, as it is original; and "The Old Hundredth'' 
released us after a surfeit of good things. AVe wish 
such historical illustrations of church music could 
occur more frequently. 

Miss Lizzie CnAPjrAs's concert, last Saturday 
evening, was successful m everything, except (we are 
sorry to learn) the tangible material result. It will 
not help her, unless it be indirectly, to go back to 
Italy. Yet the Melodeori lool-p.d quite fu 11, and every- 
body was greatly pleased by the fine voice, execu- 
tion, and ladylike air of the young singer. She has 
much yet to learn ; but what she has achieved shows 
that she will learn. 

New York, May 20, 1S62. — It is nearly half a 
year since I have written a line to Divighrs Jourmd, 
but this winter has been singular!}' une^'cntfnl in the 
musical way. Theodore Thomas' last concert was a 
decided novelty. I don't think it was a pecuniary 
success. for nearly everybody there were dead bends ; 
indeed the dead head system is carried to such an 
extent in this city, that when I meet a person at a 
place of amusement, I decide, until I have abso- 
lute proof to the contrary, that he belongs to the 
noble army of D. H.s. 

The programme of this concert, I suppose you 
have already published. The great attractions of it 
were the " Flying Dutchman" Overture by Wagner 
and Bleyerbeer's Struensee music. The former was 
a success. I would give worlds to hear it again_ 
That means twenty five cents. People when they 
say they'll give worlds to hear or see a thing, never 
mean more than twenty five cents — generally one 
and sixpence. The Slruensee music was good, but 
some of it dreadfully heavy. 

Now the fact is, it was an excellent, an admirable, 
a scientific, a sensation concert, but with all that 
rather heavy. So thought Mr. Sleepyhead, who 
accompanied me. I think that of minor nuisances 
there are few more awful than these — to go to a con- 
cert wiih a sleepy person, or to be sleepy yourself. I 
have experienced both sensations. 

At Thomas' concert Mr. Sleepyhead was with 
me — an excellent, worthy gentleman, with a refined 
appreciation of art, as lively a disposition and as 
ready a wit as I ever encountered and a really pas- 
sionate love for music, yet this man pnt me in tor- 
tures by his unutterable sleepiness. He stood the over- 
ture bravely but got heavy in his eyes during Madame 
de Lussan's first song. He said quietly that she 
had wonderful execution, but did not sing the style 
of music he admired. William Mason played a 
long, quiet Sonata by Schumann or Schubert. My 
friend closed his eyes gently.but soon re-opened them, 
and looking at me a moment leaned over and whis- 
pered that it was " charming," then he looked 
earnestly at the orchestra, and soon his eyes closed 
again and his head give a lunch to one side, but ho 
recovered himself with a sigh and a deprecatory smile 
and stood out the rest of the piece bravely enough. 



up to the scratch with a good round of applause and 
approving look of intense delight, when I know that 
he was l)ored beyond measure. 

Bruno Wollenhaupt next played a long violin 
solo,and I must say that Bruuo's selections are often 
move scientific than enlivening. This was one of them, 
and it was poppies to my friend. His head soon 
began nodding forward like a Chinese njandarin's 
in a tea shop. I liegan to be uneasy and pretended 
to have great difficulty in getting my handkerchief 
out of my pocket — in the which process I jabbed 
Slecpy-iicad several times with my elbow. The ]>ro- 
cess had a revilifying effect. He gave a convulsive 
motion, opened his eyes, smiled fceMy and whispered 
to me " absolutely miraculous," referring, I suppose 
to Bruno's playing. He then kept awake for a space, 
and when Bruno slopped playing he again observed 
that it was '" miraculous." 

Between the parts of the concert, I decided to 
make an external application of cold air : so we 
went out in the street and Sleepy Head showed signs 
of recovery. He had been up very late for the last 
few nights — that's everybody's excuse for sleepiness 
in pjblic — ho was very tired, or otherwise he should 
have enjoyed the music more — lliough notwithstand- 
ing he was highly gratilied. 

Observe, now, that neither of us alluded in the 
remotest degree to his nid nid nodding in the concert 
room. We both kept up the mutual self deceit, 
though I knew he had been asleep and he knew ho 
had been asleep, and and he knew that I knew he had 
been asleep, and I knew that he knew, that I knew 
that he knew that he had been asleep. Yet oh no ! 
we never mentioned it. 

In the second part of the concert was the Struensee 
music, und I had igro antly hoped that tlie fresh air 
would have ([uite aroused him. Vain delusion ! after 
ihe first few bars he was off again, nid nid nodding, 
this way, that way and t'other way. Most thankful 
was 1 when the concert was over. 

Now I don't mean to blame my friend for being 
sleepy. Not a bit of it. He suffered quire as much 
annoyance and mortification as I ever did about it. 
There are few sensations more unpleasant than this 
of sleepness in a place of jTublic amusement. Men 
will submit to anything rather than confess byword 
or deed that they are dying to go to sleep. Ladies 
will hide their faces behind their fans — men will 
assume an attitude of intense earnestness looking 
down at the floor, as if in rapt ectasy. I have even 
known persons to hold up their lorgnette to their eyes 
and then close them pretending all the while to be 
gazing at the prima donna, while ihey are only 
hiding their sleepiness. 

There is hut one remedy for all this. Get np and 
go away. It is utterly useless to remain longer 
hoping to recover your strength. The mark of Cain 
is on you — the plague spot has tainted you. Go 
away ! Yo"u are not, O sleepy liead, fit to be seen 
for that night at least in the concert room. 

Trovator. 

New York, Mat 26. — Nothing of serious inter- 
est has taken place in the musical world of New 
York during the past week ; "the season" now sleeps 
among the things that have been. Mr. Gottschalk 
gave what he called a " farewell concert," on Tues- 
day evening last, assisted by Messrs. Mason and 
Mills, Signora D'Augri, and others. This pianist's 
re-appearance has caused much disappointment 
among his former admirers. About five or six years 
ago, Mr. Gottschalk gave promise of becoming not 
a virtuoso of the first rank, perhaps, hut at least a 
distinguished pianist rfe (/fnj'e. In spite of a violent 
straining after effect, both in execution and composi- 
tion, yet, fresh from the school, he possessed many 
mechanical excellencies, and, super-added to these, a 
certain tropical poetry, that promised, under healthy 
and favorable auspices, far better things. But this 
supposed spring of poetry, invention, perhaps even 
genius, either had no existence, save in the imagina- 
tion of Mr. Gottschalk's admirers, or else was not 
sufficiently affluent to outlast the first flow of youth. 

Mr. Gottschalk still possesses many uncommon 
excellences as a player ; his shake, for instance, is re- 



72 



DWIGHT'S JOUKNAL OP MUSIC. 



markably good, and liis scale passages of great 
equality and velocity. But he mercilessly reproduces 
them in almost all his own arrangements and com- 
positions, and when he gives us a rare opportunity of 
hearing him in the works of other and better com- 
posers, we find that these mechanical excellences are 
counterbalanced by defects, not technical only, but 
also of expression ; and by the absence of a proper 
conception of those composers' meaning. 

Mdlle. Carlotta Patti assisted Mr. Gottschalk 
at several of his recent concerts, always to the satis- 
faction of the hearers ; her crystalline voice and fin- 
ished execution are a pleasure and a repose to the 
ear, even if slie sometimes fails, from a certain non- 
chalance that appears natural to her, to captivate tlie 
imagination. Yet she has proved herself the most 
charming of our concert singers. 

On Saturday afternoon, " La Fille da Regiment " 
was given, with Miss Kellogo, of course, in the 
principal role. Mr. Gottschalk played between the 
acts. This was the first of a series of operatic con- 
certs, which it is proposed to give, here and else- 
where, under the joint responsibility of Messrs. 
Brignoli and Gottschalk. 

There was a miscellaneous concert on Thursday 
evening at Irving Hall, for the benefit of the Catho- 
lic Library Institute, at which several artists of merit, 
among them Mr. Appr, the favorite violinist, assist- 
ed. Another took place on the same evening, at 
Niblo's Saloon, given by the Misses Gellie, two 
talented members of the Calvary Church choir, as- 
sisted by some of the Italian singers. Madame de 
ViLLiERS, a pianist of some pretensions, also made 
herself heard last week. The same remark applies 
to all these concerts ; that no mnsic of special nov- 
elty or value was performed at any of them. 

A Miss Amelia Bodghton appeared on Thurs- 
day evening at the Academy, as Violetta in " La 
Traviaia," assisted by her father and Mr. Morino. 
This highly amusing entertainment was repeated at 
the Brooklyn Academy. It is said that the Brough- 
ton family, having come out for two evenings only, 
will now go in for a perpetuity. 

At Niblo's theatre, " The Enchantress " has al- 
ready had a rnn of over six weeks. Miss Ritchings, 
though inferior to Louisa Pyne in vocal powers, and 
to Anna Thillon as an actress, sings very pleasingly 
what little music the management has retained from 
Balfe's opera, with a flexible organ, that is, however, 
evidently injured by the fatiguing alternations from 
speaking to singing, which the roles she most excels 
in, require. The "Pirates' chorus" is nightly encor- 
ed, and the gamins whistle it about the streets. The 
success of the pasticcio has induced the management 
to announce a season of English (?) opera, with Miss 
Ritchings as prima donna. Alma. 



CMt-Chat. 

We alluded last week to the high praise bestowed 
in Leipzig on the piano playing of a pupil of the 
Conservatorium, who hails from Cincinnati. A 
friend, who knows him well, sends us the following 
farther notice of him : 

"Edvcard DANNREnTHBK IS an Alsatian, having 
been born in Strasbourg, and is not yet eighteen 
years old. When he was a boy of nine, his father, a 
piano-forte manufacturer, emigrated to America, and 
settled in Cincinnati. Edward had already displayed 
considerable musical talent, and while in Cincinnati 
was so fortunate as to find in Mr. P. L. Ritter, then 
sojourning there, a professor of the highest qualifi- 
cations, who thoroughly grounded him in a techni- 
cal knowledge of the art he proposed to adopt, and 
who, at the same time, elevated his aim, and held he- 
fore him an ideal, difScult for even distinguished 
talent to keep in view unassisted, among the utilita- 
rian and artistically depressing influences of a West- 
ern town. Some artists from New York, who hap- 



pened to hear him play in the concerts of the Cecilia 
Society, struck as much by his fine intelligent face 
and interesting personality, as by his talent, dubbed 
him the Charles Auchester of the Society. His 
playing having obtained a certain recognition, he 
gave, aided by the social and artistic influence of 
friends, a series of concerts, the proceeds of which 
were of material assistance to his project of entering 
the Conservatory of Leipzig, which he put into exe- 
cution ratlier more than two years ago. There his 
already strikingly developed talent immediately ob- 
tained high honors, and the distinguished considera- 
tion of professors Moscheles, Plaidy, Reinioke, &c. , 
who prophesied for liim, not only high, but the Iiigh- 
est success in his art. This fine natural and acquir- 
ed talent, perfected by severe study, is now attracting 
general attention in Leipzig. At the recent concours 
of the Conservatory, the " Signale " observed that 
" the playing of Edward Dannruther is no longer 
that of a pupil, but of a master ; he has perfectly 
overcome all technical difficulties, and his fine play- 
ing would now do honor to any concert hall." Other 
journals have spoken even more highly of him ; but 
such remarks as those of the Signale, and of a youth 
of seventeen, too, are proof sufficient that Edward 
Dannreuther has more than fulfilled, even now, the 
promise of his his early boyhood. And from such an 
earnest and ambitious talent, constant progress may 
be anticipated. He will probably be heard next sea- 
son in New York ; should he decide to remain there, 
his remarkable virtuosity, theoretic knowledge (he 
has already made successful eff'orts in composition, 
and is a good violoncellist) and youthful enthusiasm 
and amiability, will render him a welcome and wor- 
thy addition to the highest circle of resident artists." 

Since receiving the above, our Leipzig files for 
April have come to hand, and we translate some 
reports of the annual examination at the Conserva- 
torium : 

" The most perfect production however was deci- 
dedly that of Mr. Edward Dannreuther of Cincinnati, 
in the performance of the second and third move- 
ments of the P minor Concerto of Chopin and of a 
" Serenade " of his own composition — a designation 
which we think liardly suited to the work. Mr. D. 
has already over-stepped the sphere of the pupil ; his 
technique is brilliant, his toiioh firm and snre." Neue 
Zeitschrift fiir Musik. 

" Concerto, ^c, played by Ed. Dannreuther. The 
best piano performance, not only of this evening,but 
of all this year's trial exercises. This was in all 
respects a faultless number, a virtuoso performance, 
which would have been an ornament to any concert 
hall. Everything pupil-like had been completely 
overcome ; the playing was that of a master." Sig- 
nale. 

A Worcester (Mass.) paper says : 

In the little musical world of Worcester we hear 
of novelties to come before long. Among them, the 
performance, by the Mendelssohn Choral Society, of 
Mozart's Requiem, which has been for some time in 
preparation. Also, the performance of original 
works by resident composers, among which is a Te 
Deum, written by one of our young organists. For 
all this we shall be indebted, in no small degree, to 
the tireless efforts of Mr. B. D. Allen. 

The New York Tribune says of the boy pianist re- 
ferred to in these columns last week : 

— The possibility of young fingers to master difii- 
cult mnsic is strikingly exemplified in the instance of 
Master Willie Barnesmore Pape, a lad only twelve 
years of age. He is an American, a native of Mo- 
bile. Under judicious training he has developed up 
to the point when he can perform such test pieces, as 
Thalberg's rendering of Rossini's Mos€ — the original 
work with which the celebrated pianist exposed his 
isms. The study which Master Pape has gone through 
with to be able to do this, has not rendered him pale 
or sickly, but happily for his career he is rosy and 
healthy-looking, and altogether a notable lad. The 
public will soon have an opportunity of hearing the 
little American prodigy. 



>ptial UotitH. 



DESCRIPTIVE LIST OF THE 
Publi«(lie«I by Oliver Ditaoii $i. Co. 



Vocal, with Piano Accompanlnient. 

He still was there. Ballad. " Doctor of Alcantara." 25 

This sweet and simple air is the first of a selection 

from Mr. Eichberg's highly successful Opera Bovffe^ 

now being issued. It is a charming melody, and 

should grace every young lady's collection. 

The robin that sang in the garden. Song. 

R. S. Taylor. 25 
The star at home. Song. " 25 

Two home songs — pleasing and instructive. Ar- 
ranged easily for the Piano, and within the compass 
of a moderate voice. 

Cnpid's eyes. Song. Alfred Mellon. 25 

A spirited, dashing song, carrying cheerfulness into 
every listener's heart. A style of song rare to find, 
and much sought for. 

Little Willie. Ballad. Mrs. S. G. Knight. 25 

A sad, yet charroing song, full of pathos and calling 
tears into the eyes. It chants the death of a dear 
little boy. 

Instrumental Music. 

Old Glory March. Mrs. S. C. Knight. 25 

Bellona March. J. C. Kremhy. 35 

Lovers of military music will here find two agree- 
able pieces. The first is simple, the second difB.cult. 

Rose of Mississippi. Grand Waltz. S, Marhstein. 35 
A brilliant composition — sparkling and bright — 
original in thought and pleasing in expression. To 
those who "■ trip it on the light, fantastic toe," it will 
prove a great acquisition. 

Jasmine Pot Fourri. ' Ch. Grobe. 25 

Arranged for young beginners, and is very pretty. 

Sly Glance Galop. Lardbe. 25 

Very pleasing and well arranged. The taking song 
of the " Captain with his whiskers " is introduced at 
the moment the " sly glance " is supposed to come off. 
It cannot fail to be popular. 

Impromptu Polka by Schuloff. Arranged for 
two performers by T. Bissell. 50 

No lover of Dance Music can be ignorant of this 
brilliant composition for one performer on the Piano. 
It has long been considered one of the necessities of 
a young lady's Repertoire. The piece now recommend- 
ed, is nicely arranged for two players, by a skilful 
Pianist and musician, and cannot fail to prove a fine 
" show piece " for Exhibitions, Concerts, &c. 

Books. 

Preparatory Studies for vert Young 
Beginners. C. Wolfert $1.00 

We are not acquainted with the author of these 
studies, and we therefore thank him all the more 
heartily for the well-timed and well-prepared work. 
It is exactly what all teachers having young pupils in 
charge, need, and what they have earnestly sought for 
" These studies," the Preface informs us, " are in- 
tended for those who, from their extreme youth, or 
their lack of musical capacity, cannot readily under- 
stand and appreciate abler and more comprehensive 
methods. They are designed to bring out a/ew prom- 
inent points, unfolding them gradually and systemati- 
cally, thereby impressing them permanently upon 
the mind of the pupil." 



Musio BY Mail. — Music is sent by mail, the expense being 
about one cent on each piece. Persons at a distance will find 
the conveyance a saving- of time and expense in obtaining 
supplies. Books can also be sent at the rate of one cent per 
ounce. This applies to any distance under three thousand 
1 miles; beyond that it is double. 




toig(]t'5 |0urual 





BOSTON, SATUKDAY, JUNE 7, 18 6 2. 



Whole No. 531. 



Vol. XXI. No. 10. 



Translated for this Journal. 

From Felix Mendelssohn's "Travelling- 
Letters." 

(Continued from page 63.) 

Paris, Jan. 21,1832. 

I get in every letter now a little hit, because I 
am not y)unctual in my answers. So now I pro- 
ceed to satisfy your questions about the new 
things which I intend to publish, my dear 
Fanny. 

It has occurred to me, that the Octet and the 
Quintet might figure very well in my works, and 
really arc better than much else that figures there 
already. Now as the publication of these pieces 
costs nothing, but on the contrary brings some- 
thing in, and as I do not wish entirely to confuse 
the chronological sequence, I propose to publish 
the following things by Easter : Quintet and Oc- 
tet (the latter arranged also for four hands), 
" Midsummer Night's Dream," seven Songs with- 
out Words, six Songs with words ; on my 
return to Germany si.K pieces of church music, 
and finally, if a publisher will ergravc and pay 
for it, the D minor Symphony. As soon as I 
have brought out the " Meereaslille " in my Ber- 
lin concert, that too shall follow. But I cannot 
give "Die Hebriden" here, because,as I wrote you 
at the time, I consider it as not yet finished ; the 
middle portion (forte, in D major) is very stupid, 
and the whole working up, so called, savors more 
of counterpoint, than of train oil and sea-gulls 
and salt fish, and it should be the reverse. Hike 
the piece too well to perform it in an imperfect 
state, and I hope soon to set myself about it, so 
as to have it ready for England and the Michael- 
mas fair. You ask furthermore, why I do not com- 
pose the Italian Symphony in A major ? Because 
I am composing the Saxon Overture in A minor, 
which is to stand before the " Walpurgis Night," 
so that the piece maybe played with honor in 
the aforesaid concei't in Berlin, and elsewhere. 

You wish me to remove to the Marais and 
write all day. My child,(hat will not do ; I have 
before me only three months more at farthest, to 
see Paris, and here one must throw himself into 
the stream ; for this I came here : it is all too 
gay and attractive, to renounce ; it rounds off 
my charming picture of travel as a whole, and 
forms a singularly colossal keystone to the arch ; 
and so I must now try to regard Paris as the 
main thing. Meanwhile the publishers stand on 
both sides of me like veritable Satans, desire 
piano music, and are willing to pay for it. By 
Heavens ! I do not know whether to resist, or 
write some Trio or other ; for that I am above 
the potpourri temptation, I trust you will believe ; 
but I should be glad to compose a couple of good 
Trios. 

On Thursday too, is the first rehearsal of ray 
Overture, which will be given in the second 
concett of the Conservatoire ; in the third my D 
minor Symphony will follow. Habeneck talks of 
seven or eight rehearsals ; they would be wel- 
come to me. Moreover I am to play something 
in a concert at Erard's, namely my Munich Con- 



certo for the piano-forte ; so I must practice it 
well. Then again a billet lies beside me : Le 
president du Conseil, Miniatre de V inlerieur, et 
Mine. Casimir Perier prient etc., to a ball on 
Monday evening; this evening there is music at 
Habeneck's ; tomorrow at Schlesinger's ; Tues- 
day, the first public Soiree of Baillot ; Wednes- 
day, Hiller plays his Concerto in the Hotel de 
Vitle, — these things always last till after mid- 
nitjht, — let another lead a solitary life; but these 
are things which one cannot refuse. So when 
am I to compose ? In the forenoon \ Yesterday 
Hiller came, then Kalkbrenner, then Habeneck. 
Day before yesterday came Baillot, then Eich- 
thal, then Rodrigucs. Early in the morning 
then ! Wall yes, — I do compose then. — So you 
gre confuted. 

Yesterday, P. was with me, talked St. Simo- 
nianism, and, taking me either to be stupid or 
shrewd enough, made disclosures which were so 
revolting to me.that I resolved not to go again to 
him, nor to the other confederates. Now this 
morning Hiller bursts into the room and tells me 
how he has just been present at the an-est of the 
Saint Simonians ;, he wanted to hear their preach- 
ing ; but the Fathers did not come. Suddenly 
soldiers entered, and they were ordered to dis- 
perse as soon as possible, since M. Enfantin and 
the rest had been arrested in the Eue Monsigny. 
National guards are standing in the Rue Monsig- 
ny, and other soldiers are marching up ; every 
thing has been put under seal.and now the proces 
will begin. My B minor Quartet had been left 
in the Rue Monsigny,and is now under seal ; only 
the Adagio is juste milieu, all the other pieces 
are mouvement; I shall be obliged at last to 
play it before the jury. 

I was standing lately by the side of the Abb(5 
Bardin, in a large company, and listening to the 
way that they purformed my Quartet in A minor. 
During the last movement my neighbor pulled 
my coat and said : "■ II a cela dans unede ses sin- 
fonies.'' — " Quit" said I, somewhat distui'bed. — 
" Beethoven, I'auteur de ce quatuor," said he with 
an air of consequence. It was sour-sweet ! But 
is it not fine, that my Quartets are played in the 
classes of the Conservatoire, and that the scholars 
have to sprain their fingers to play " 1st es 
loalir " ? 

I have just come from St. Sulpice, where the 
organist trotted out the organ before me : it 
sounds like a full choir of old women's voices ; 
but they maintain that it is the first organ in 
Europe, if it were only repaired, which would 
cost 30.000 francs. No one who has not heard it 
can believe how the Canto fermo sounds accom- 
panied by a serpent ; and the clumsy bells are 
ringing at the same time ! 

The post is going, so I must leave off" my chat, 
or it would last till day after tomorrow. I have 
never yet mentioned, that Bach's Passion is 
announced for Easter at the Italian Opera in 
London. 

Your 

Felix. 



Paris, reb. 4, 1832. 
You will excuse me if I write you only a few 
words to-day. I did not know till yesterday my 
never to be forgotten loss.* With it have gone a 
dear and beautiful period of my life, and many 
hopes; I shall never again be so happy. Imustnow 
look about to build new plans and new castles in 
the air ; the old ones are lost, for he was always 
interwoven in them ; I shall never be able to 
think of my whole boyhood, and the time succeed- 
ing it, without him, aud I had imagined until 
now that the future would not be otherwise. I 
must accustom myself to the change ; but the 
fact that I can think of nothing, without being 
reminded of him, — that I never could hear music 
without that, and never write anything without 
thinking of him in it, — all this makes the sever- 
ing of this life tie doubly sensible. For now the 
former time has really passed away. But not 
only do I lose that ; I lose a man. whom I loved ; 
even if I had had no reason for it, or had lost all 
reasons, still I should have loved him without 
reason, and he would have loved me too; and 
now the consciousness that there is such a man 
in the world, on whom one could repose,and who 
lived to love you, and all whose wishes were the 
same as yours, is gone. It is the hardest loss that 
could have befallen me, and I shall never forget 
it. 

This was my birthday celebration yesterday. 
While I was listening to Baillot on Tuesday, and 
was telling Hiller, that there was only one man 
who played for me the music which I loved, L. 
was standing by my side, and knew it, and did 
not give me the letter. He did not know to be 
sure that yesterday was my birthday , but yester- 
day I leai'ned it by degrees from him, and then I 
could recall former anniversaries, and review the 
past a little, as one always should do on a birth- 
day, and think how he always used to come on 
that day with some special gift, which he had 
long been thinking of, something as nice and 
pleasant and delightful as himself. The day was 
very mournful ; I could do nothing, think of 
nothing, but j ust that. 

To-day I have compelled myself to work, and 
it has gone well. My A minor Overture is fin- 
ished ; I now think of writing some things,which 
will be well paid for here. 

Pray tell me a great deal more about him ; give 
me all possible particulars ; it does me good to 
keep hearing about him. His neatly copied Oc- 
tet parts lie now before me, and look up at me. I 
shall soon perhaps recover my usual mood, and 
be able to write you cheerfully and at length ; 
but the new chapter is begun, and there is no 
title. Your 

Felix. 

* The death of his friend, the violinist, Edvard Rttz. 

Paris, Feb. 13, 1832. 

I live very pleasantly and quietly here now. 

To society I am drawn neither by my mood, nor 

by the satisfaction which it offers. Here, as 

everywhere, it is dry and unprofitable, and by 



74 



DWIGHT'S JOUENAL OF MUSIC. 



its late hours it costs double time. On the other 
hand I do not hesitate where there is good music ; 
I shall write Zelter the particulars of the first 
concert of the Conservatoire. These people play 
most admirably, and with such a cultivated style, 
that it is a delight to hear them; they feel a 
pleasure in it themselves, and every one takes 
the greatest pains ; the cUef is a sterling and ac- 
complished musician ; of course it must go well 
together. Tomorrow my A minor Quartet will 
be played in public. Cherubini says of Beetho- 
ven's later music : " pa me fait eternuer" and so 
I believe the whole public will sneeze tomorrow. 
The performers are Baillot, Sauzay, Urban and 
Norblin, the best here. My A minor Overture 
is ready ; it represents bad weather. Also an 
introduction, in which it thaws and becomes 
Spring, was finished a few days ago ; and so I 
have counted the sheets of the " Walpurgis 
Night," revised the seven numbers a little more, 
and then boldly written underneath : Milan, in 
July — Paris, in February. I think it will please 
you. Before all things I must now make an 
Adagio for my Quintet ; the players are clamor- 
ous for it, and I find they are right. 

I wish you could hear for once a rehearsal of 
my " Midsummer Night's Dream " in the Conser- 
vatoire ; they play it ex(]nisitely. It is not yet 
certain whether it will get off by next Sunday ; 
there are only two more rehearsals before then, 
and it has only been played over twice ; but I 
think that it will go, and I should like to have it 
on Sunday, and not in the third concert, because 
I have to play on the 26th for the poor (some- 
thing of Weber's), on the 27th in a concert at 
Erard's (my Munich ConcertoJ, and at other 
places, and because I should like to appear first 
at the Conservatoire. I am also lo play some- 
thing at the Conservatoire, and in fact the 
gentlemen would like to hear a piano-forte 
Sonata by Beethoven ; it would be a bold thing, 
but I vote for his G major Concerto, which no 
one knows here. But I look forward with the 
greatest delight to the D minor Symphony.which 
they are to take in hand next week ; I never 
should have dreamed that I should hear it for the 
first time in Paris. 

I often go to the theatre, and see the great 
adroitness, talent, and incredible immorality, 
which they employ in it ; no lady is supposed to go 
to the " Gymnase ; " — still they do go. Now if 
you imagine me reading " Noire Dame," dining 
here or there with some acquaintance everj' daj', 
and after three o'clock availing myself of the 
lovely, fine Spring weather to take a walk, make 
a call here and there, and look at the gayly 
dressed gentlemen and ladies in the splendid 
gardens of the Tuileries, — you will have my day 
in Paris. Now farewell. Felix. 

Paris, Feb. 21, 1S32. 
Almost every letter which I receive from you 
now, announces a bitter loss. Yesterday I re- 
ceived the one with the intelligence about dear 
U., whom I shall no longer find with you ; so 
there is no time for chatty correspondence ; one 
must work, and try to make progress. I have 
composed a grand Adagio as an intermezzo to 
the Quintet. It is called " Nachruf" (posthu- 
mous fame), and it occurred to me, as I had to 
compose something for Baillot, who plays so 
beautifully, and is so kind to me, and who wishes 
to play it publicly before the people,and yet who 
is so much of a stranger to me. 



Day before yesterday my overture to the "Mid- 
summer Night's Dream " was given for the first 
time in a concert of the Conservatoire. It has 
caused me great satisfaction, for it went most 
admirably, and also seemed to please the people. 
In one of the next concerts it will be performed 
again, and my Symphony, which has been de- 
layed a little on this account, is to be taken up 
on Friday or Saturday. I shall also in the fourth 
or fifth concert play Beethoven's G major Con- 
certo. The musicians cross and bless themselves 
at all the honors heaped on me by the Conserva- 
toire. They played the A minor Quartet won- 
derfully on Tuesday, with such fire and precision, 
that it was a joy to hear it, and as I can never 
more hear Ritz, I probably shall not soon hear it 
better given. It seemed to make a great impres- 
sion on the people ; they went almost mad about 
the Scherzo. 

It is uow time again, dear father, that I should 
write you a few words about my travelling plans, 
and this time more seriously than usual for many 
reasons. So I should like first to take a general 
survey and think of that, which you proposed to 
me before I left home as my object, and bade me 
keep it steadily in view: namely, I was closely 
to examine the different countries, in order to 
select the one in which I would reside and work ; 
furthermore, I was to make known my name.and 
what I can do, so that men might gladly receive 
me where I wished to stay, and not be ignorant 
of my achievements ; and finally, I was to take 
advantage of my good fortune and your kindness, 
to get forward with my future works. It is a 
joyful feeling for me, to be able now to say, that 
I believe this has been done. Allowing for the 
mistakes, which one finds out too late, I think I 
have fulfilled the objects you prescribed for me. 
People now know that I live, and that I mean to 
do something ; and whatever good thing I achieve, 
they wiil receive it well. Here they have come 
to meet me, and have asked for things by me, 
which they have never done before, since all the 
others, even Onslow, have been obliged to offer 
their compositions. From London the Philhar- 
monic have invited me to perform something new 
of mine there on the 10th of March. I have 
also got my Munich commission without taking 
the least step to obtain it, and in fact not till 
after my concert. Now I mean to give here (if 
possible), and certainly in London, in case the 
cholera does not prevent my going there in 
April, a concert on my own account, and earn 
some money, so that I may have tried my hand 
at that too, before I come back to you ; then I 
hope to be able to say, that I have fulfilled that 
part of your wish, — the making myself known to 
the public. 

Your other purpose, too, that I should choose 
a country, where I should like to live, is, at least 
in a general way, accomplished. That country 
is Germany ; on that point I have become quite 
sure in my own mind. I cannot yet however 
name the city, for the most important one, to 
which I am attracted by so many reasons, is not 
yet known to me in this respect, — I mean Berlin ; 
so I must make a trial of it upon my return, to 
see whether I shall be able to establish myself 
there, in the way that I propose and wish, after 
having seen and enjpyed all the other places. 

This is also the reason why I do not try to get 
an Opera to write here. If I make really good 
music, such as these days demand, it will be un- 



derstood and loved in Germany (it has been so 
with all good operas there). If I make indiflier- 
ent music, it will be forgotten in Germany, but 
here it would be often given, praised, sent to 
Germany, and there given on Parisian authority, 
as we see every day. But this I will not do; if 
I am not able to write good music, I do not wi.sh 
to be praised for it. Therefore I will try it first 
in Germany, and if it goes so badly that I can 
no longer live there, I have still the foreign 
countries left. Besides, few German theatres 
have sunk to so low a condition as the Opera 
Comiquehere; it falls from one bankruptcy into 
anothei'. When Cherubini is asked why he does 
not allow his operas to be given there, he an- 
swers: "Je ne fats pas donner des Operas sans 
chmnr, sans orcJiestre, sans cJianteurs et sans 
decorations." But the Grand Opera has given 
its orders for yeai's to come, and one cannot get 
a commission under three or four years. 

So I mean for the first thing to return to you, 
write my " Tempest," and see how it succeeds. 
The plan, which I would lay before you, dear 
father, is this : to remain here nntil the end of 
March or the beginning of April (of cour.se I 
have declined the invitation of the Philharmonic 
for the 10th of March, and reserved it for an- 
other time) ; then to go to London for a couple 
of months; then, if the Khenish musical festival 
takes place, to which I have been summoned, to 
go by way of Diisseldorf ; if not, to return by 
the shortest way back to yon, and be with you in 
the garden soon after Wliitsuntide. Farewell ! 

Felix. 

(To be continued.) 



A New Opera: "Actaea, the Maid of 
Corinth." 

{From the Berlin Correspondence of the London 
Musical World). 

At last I have really got something new to tell you 
concerning the Royal Opera House and its manage- 
ment ; I shall not be compelled, on the present occa- 
sion, to employ the hrilliancy of my talent and the 
vast resources of my .style, in chronicling simply the 
I-do-not-know-how-manj'rtA representation of Le 
Prophete, or the periodical revival of Spontini's Per- 
im»d Coi-tez. We have actually hail an operatic 
novelty, and that novelty is Aetna, das Aladchen von 
Korinih, " a grand opera in four act.'!, the wonls by 
Julius Rodenherg, and the music by Jean Bott." 

The subject of Herr " Jean " Bolt's new opera, 
like that of Herr Ferdinand Hiller's Kafakomhen, 
produced so snccessfully a short time since, is laid in 
the time of the early Christians, and the following is 
an outline of the plot. The heroine is a certain 
Aciaa, or Actsea, a young Greek girl, whom Nero has 
carried off from Corinth to Rome. The two other 
principal female characters are Agiippin.a, Nero's 
mother, and PoppEea Sahina, the lady who so capti- 
vated the Emperor that, .after having taken her from 
one of his favorites, Otho, who had previously taken 
her from her husband, Rufus Crispinns, he married 
her, his former wife, Octavio, having first been repu- 
diated by him, in order to enable him to do so. It 
was this same Poppfea who was so anxious to pre- 
serve her beauty, that she kept a stud of 500 asses, 
in whose milk she used to take a hath daily. What 
a good customer she would have been, by the way, to 
Mad. Rachel, of face-enamelling celebrity, had the 
latter only exercised her profession in Rome some 
1800 years ago ! In the opera, Poppaea uses Actiea 
as a means of moundng to the Imperial throne, 
while Agrippina employs lier as an agent of her re- 
venge, in order to work the downfall of Nero and 
Poppsea. Through Agrippina, Actoea discovers that 
the person she supposes to be merely the plain 
Roman Lucius, whom she has followed to Rome as 
his wife, is uo other than the Emperor Nero, who has 
been starring it through the provinces, somewhat 
after the style of Tom Sayers, Heenan, or Jem Mace, 
at the present day, as a dancer and fencer. Agrip- 
pina, whose own life is threatened by her amiable 
son, seeks to escape, with the young Greek maiden, 
on board a vessel which she has especially procured 



BOSTON, SATURDAY, JUNE 7, 18 6 2. 



75 



for that purpose. But the vessel having been, 
unknown to her, boreil full of holes, ns related liy 
Tacitus in the 14th hook of his " Annals," sinks out 
at sea. Acta:a, whom it is necessary to preserve for 
the developement of the story, is the only person 
saved. She is obliixinoly tlniis by tlie waves on 
shore, where slie is discovered l>y her old admirer, 
Agenor, a Greek sailor, whom she helieved killed, in 
a hand-to-hand encounter with Nero. He was, 
however, only wounded, and conducts her to his co- 
religionists, the Cliristians, in the Catacombs. He 
tells licr that, I)y embracing tiie new faith, she will 
obtain pardon for tlie sins slie has committed, and 
repose for her sonl, which is racked by repentance. 
Suddenly, the terrible news is brought that the eldest 
member of tlieir congregation is threatened by Nero 
with a martyr's death. Aetata is inspired with a 
determination to save his life. She is acquainted 
with tlie prisons of Rome ; she knows the jailors, 
and swears to loose his chains. Such is the purport 
of the first three acts. 

The fourth and last act opens in the Forum at 
Rome. We hear tlie niarcli and chorus which cele- 
brate the nnptials of Nero and Poppaia Sahina. 
When the marriage procession has disappeared, 
Actcca and Agenor n.ake their appearance. The 
fair Greek feels lier broken heart swell with revenge, 
on discovering that the hated Sabina is Nero's wife. 
Conspirators enter, and indulge in some warm curses 
against tiic tyrant, a proceeding which I should say, 
was, at the least, rather ill-judged, considering the 
public thoroughfare in which it is represented as tak- 
ing place. However, I suppose it is all right consid- 
ering that, in operas, the street is not nnfrequently 
selected as the most appropriate spot for the signing 
of marriage contracts, and other transactions of an 
especially private nature. I am borne out in my 
opinion hy the conduct of a certain Spanish Legion- 
ary, who joins the Conspirators, and brings them the 
highly gratifying intelligence that Galba, the Roman 
commander in Spain, is on the march to overthrow 
ihe tyrant. Acttea offers to conduct the Conspirators 
into Nero's golden house, and, snatching the sword 
from the hand of the Legionary, places herself at 
their head. The scene now changes to the interior 
of the house, where Nero is asleep in a magnificent 
apartment. In his sleep, he sees the shosts of those 
whom he has murdered, as Richard III. does, in his 
tent on Boswortb field. On his starting from his 
uncomfortable slumbers, Acta?a advances toward him 
with her drawn sword. Suddenly she hears the cho- 
rus of Christians, celebrating the preservation of 
their brother, who has been so near obtaining the 
crown of martyrdom. This mollifies her feelings 
considerably. She flings away her sword, and deter- 
mines to aid Nero to escape. She is, however, 
prevented from effecting her purpose by the Conspir- 
ators, who rusli in, and accuse her of treachery. She 
falls beneath the sword of the Spanish Legionary, 
and, as she is dying, the Conspirators discover the 
corpse of Nero, who has committed suicide. 

Such is the plot of the libretto. It contains numer- 
ous faults of construction, and is not altogether con- 
sistent with what I learned, when a student of 
Lempriere, concerning the career of Nero and of 
those connected with him. It is, however, carefully 
written, and the verses, though at times rhythmically 
monotonous, are correct and elegant. In fact, it has 
been the object of Herr Julius Rodenberg to produce 
an independent literary work ; and, regarding his 
libretto in this light, be published it some time before 
it was produced on the stage. 

With regard to the music, I do not myself think 
it likely to obtain a wide-world reputation. Herr 
Bott has followed too much in the footsteps of Herr 
Richard Wagner to find favor in my eyes. Yet he 
is a musician not devoid of talent, as is proved by 
numerous lyrical touches, exceedingly well conceived 
and excellently carried out, and by the instrumenta- 
tion, which, depending mostly upon the stringed 
quartets of which Herr Bott is a master, is distin- 
guished for clearness and natural charm. There is 
a total absence of recitative, after the by no means 
pleasant or effective model of Herr R. Wagner. 
Apart from the monotonous impression produced hy 
the drawling kind of psalmody that is made to do 
duty for recitative, the composer throws away every 
chance, for no earthly reason, of the fine effect of 
contrast marking a free and well connected musical 
composition. The first real piece of recitative is 
found in the last half of the concluding act, and I 
felt truly gratef.d to the Spanish Legionary for sing- 
ing it. It was as refreshing to my wearied ears as 
the draught of pale ale which, according to a London 
paper, the Laureate drank after the Exhibition bad 
been opened, must have been to liis poetical but 
parched throat. Although inclined to admire very 
sincerely the instrumentation, which, like a great deal 
more, bears unmistakeable signs of a study of the 
good old school of Spohr, I cannot approve of the 



vocal music, which is treated as though it were pure- 
ly instrumental, and constituted an integral part of 
the orchestra, from which consequently it never 
stands out so as to produce a separate effect of its 
own. The choruses are mostly distinguished for the 
honiophonous style in which they are written, and 
which tends to annihilate their vocal effect 

The part of the heroine was confided to Mad-. Har- 
riers-Wippern, who devoted her best energies to it. 
But it is a part not adapted to her, and, in order to 
be efl^ective, she was frequently exaggerated. Mile, 
do Ahna sang and played the demoniacal Sahina 
with appropriate fire and spirit, for which she deserved 
.all the more praise, .as the character is not calculated 
to enlist the sympathies of the public. The same 
may be asserted of Herr Belz, who represented 
Nero. Herr Theodor Formes made the best of the 
part of Agenor, but it afforded him scarcely any op- 
portunity of distinguishing himself. The subordi- 
nate personages were satisfactorily impersonated by 
Mad. Botticher, Herren Salomon, Fricke, and Bost. 
The orchestra did not execute its task with its accus- 
tomed " virtuosity," probably from want of sufficient 
reliearsals. although the composer conducted in 
person. The dances were graceful and well arranged , 
while the dresses and scenery did infinite credit to the 
management. 

I repeat, that I do not fancy that Adda will enjoy 
a very long run, though, as I have hmted, it is not 
without promise of better things in future from its 
composer. As a proof that I am not too severe in 
my opinion, allow me to quote that of a well-knowh 
critic here (Herr Naumann), who says: — 

" Without pos.sessing Richard Wagner's talents, 
Herr Bott has attempted to throw off his production 
after the fasliion adopted hy that gentleman, and 
composed on, from word to word, and from bar to 
bar. In tliis way he spins out his opera through four 
long acts, sinking, .it times, to a complete absence of 
aught in the shape of an idea. Under these circnm- 
stances, he has altogether dispensed with an overture. 
Two or three bars of a flat introduction lead up to a 
chorus of Romans landing with Nero. This, like all 
the other male choruses in the opera, bears the 
stamp to all ordinary ' Lieder-Tafel ' choruses, 
without the slightest approaeli to local characterisa- 
tion, or historical coloring. Nero then sings a sort 
of sonjr, reminding us of the modern sentimental 
effusions of Kucken and Proch, and, as it is repeated 
three times in the course of the opera, exhibiting 
very clearly the paucity of ideas under which the 
composer labors, since even here, when the plau 
of the opera demanded something striking, he has 
failed to display a single thought at all independent, 
appropriate, or interesting. 

" The festive at Corinth is treated in the ballet 
style, to far better specimens of which we are accus- 
tomed by our own Court-composer, Hertel, as well 
as by the Parisian composers of this kind of music ; 
and we must bear in mind that we are beholding 
dances on the classic soil of Greece. 

" Agenor is an insuflferably vapid modern lover, 
who informs us, in phrases already heard a thous- 
and times, and really consisting of mere final caden- 
zas, of bis feeling for Actaja, and only once rising 
to anything resembling a musical idea, at the words, 
' bei kuhlem Sterngefiimmer.' But even here, the soft- 
sighing Celadon, who dares not soar far beyond the 
limits of Ihe tonic and dominant, becomes in the 
long run wearisome. 

" At the dramatic conclusions of the acts, the 
composer, in total helpl issness, has recourse to the 
ugliest and most impracticable progressions of the 
vocal parts, and to the most noisy instrumental 
expedients, without, for one moment, rising to real 
dramatic life, only possible by a musical character- 
ization of the persouMges of the drama. 

" The principal theme in the scene of the Impe- 
rial gardens, in the second act, we would scarcely 
allow in an ordinary composer of dances, and, 
con,sequently, much less in the present instance. 
The music rises a little, but only when compared 
to itself, in the scene between Nero, Agrippina 
and Actffia, and also when Sabina communicates 
to the Emperor how she has plotted the destruc- 
tion of the two women. At the lines, ' Darkness 
conceals the dangerous reef; strong is the stream, 
black are the sails ; the ferryman, Ch.aron, steers 
the ship,' we meet, for the first time, with a really 
musical success achieved by the composer. On the 
other hand, he again becomes completely par.alyzed 
in the scene of the meeting between Act^a and 
Agenor. We have seldom heard music in which 
such false, because vapidly morbid, sentimentality 
was made to mask the want of all real feeling. 

The grand mareh, which opens the fourth act, 
once more enables us to perceive bow totally des- 
titute of ideas the composer is. We ought to hear 
a Roman triumphal march, instead of which we 
hear only some expressionless music in the most 



worn-out march rhythm, such as is adopted by 
dilettanti without talent, who have determined to 
write a march at any price. The following chorus, 
for female voices, with ballet, is with one tiifling 
alteration, note for note, the chorus for female voices, 
with ballet, in the second act of Spontini's Cortcz, 
and, hut for this reminiscence, would be, perhaps, 
the only number with anything like original local 
coloring in Herr Bolt's work. Indeed, this goes on 
the whole evening, by means of connecting-links of 
musical mosaic, of two, three, or four bars each. In 
our opinion, the composer at last worked in the sweat 
of his brow in order to fill up, in some degree, 
the gaps still remaining in his opera, so that it 
might be completed and produced. Wagner, whose 
principles Herr Bott apparently adopts, offers us, for 
the unity in form and style, a unity of feeling, which 
causes us to forget the absence of the former. In 
Lohengrin we everywhere feel an atmosphere of Ger- 
man legends and stories. In Herr Bott's work, 
however, we do not meet Romans and Greeks, but at 
most the completely used-up phrases of the totally 
worn-out modern sentimental school. In addition to 
this, the vocal and instrumental parts, proceeding 
equally with each other, in the choruses as well as in 
the more developed pieces, exhibit an almost ama- 
teurish education on the part of the composer, as far 
as regards the treatment of the forms of art. The 
used-up finales after the tonic, by means of the 
chord of the dominant seventh, over which the sing- 
er's voice sinks languishingly, with its hesitatingly 
repeated sixth and fifth, down to the fundamental 
tone of the key, are forced upon us some hundred 
times in the course of the opera. In other places, 
without any reason whatever, Wagner's well-known 
chromatic progressions of sixths and fourths on the 
fiddles, from the scene of the Vennsberg in Tannhdu- 
ser, are introduced, or else reminiscences from 
Elizaheth's prayer, accompanied by the wood wind 
inslruments, in the third act of the same opera. 



l?or Dwigbt's Journal of Music. 

The Tin Violin. 

Translated from the " Souvenirs d' un Blusicien," of 
Adolphe Adam, by Fanny Malone Raymond 

Very few instruments possess so much variety in 
form, name, and material, as the violin. How many 
transformations it has undergone, since the lyre of 
Apollo, which some old paintings represent to have 
been a veritable violin ; since the rebeck of the mid- 
dle ages, up to the time of the Amati and Stradi- 
varius ! In spite of the power of our modern wind 
instruments, the violin has always held its place, and 
will probably continue to remain the king of the or- 
chestra, and the basis of every symphonic combina- 
tion. Many attempts have been made to render the 
sound of the instrument rounder, and almost every 
description of material has been essayed in its man- 
ufacture. At the sale that took place after the death 
of the celebrated commissary, Se'guin, were to be 
seen a number of violin eases, invented by the de- 
ceased ; cases of wood, stone, paste, card-board, — 
had asphalt been then in fashion, there would 
have have been one of bitumen, no doubt. Steel 
bows had been already invented, but bows of galvan- 
ized iron were not wanting in Seguin's collection ! 
The form of the cases was no less singular than the 
material ; some were pierced with holes like a chaf- 
ing-dish, others were squ.are like a mouse-trap ; what- 
everjthey looked like, they rarely resembled a violin ; 
but one felt obliged to give them the name, since 
Se'iiuin had always so designated them, when he ex- 
hibited them. 

An Englishman, who was present with me at the 
sale, was in ecstasies about this novel and grotesque 
museum ; and my surprise was great when he asked 
the auctioneer if there was not, among all these 
violins, at least one of — tin. But the auctioneer's 
search was useless ; not one instrument of this ma- 
terial could be found. 

" I am sorry;" said the Englishman to me; "I 
might have won a fine instrument." 

"And how so f" 

" Ah, that concerns the story of another sale ; that 
of Viotti, of whom I was a great admirer. I would 
have given worlds to possess an instrument which he 



76 



DWIGHT'S JOUENAL OF MUSIC 



had iiserl, but unfortunately, family business kept me 
away from London at the time of the sale of his 
violins after his death ; I learned the day of the sale 
late ; I killed more than one horse in trying to fret 
there; I arrived at the moment when the last violin 
was knocked down to an amateur, who started off 
with it triumphantly. I vainly offered him twice tlie 
sum that ho had given for it; he would not yield it, 
and was even so rude as to laugh at me. ' There is 
a violin yet to be had, more extraordinary than all 
those which have just been sold,' said he to me ; "It 
has not even been put up for sale, and you can get it 
without any difliculty." As he said this, he pointed 
to a singular oliject that I had not yet observed ; it 
was a tin violin — do you comprehend ? A tin violin ! 
I h&d determined to possess one of Viotti's instru- 
ments, so I purchased this, my last chance, for a 
few shillings, amid the laughter of those present. 
My antagonist, proud of his fine violin, then said : 

" 'The e.xistencc of this singular instrument in 
this rich collection must have a singular cause, and 
I feel so anxious to know it, that I would give the 
violin that I have just purchased, could I find the 
key to such an enigma.' 

"'Done ;' I ^replied quickly; 'you shall give me 
your violin when you have learned the origin of 
mine ; I will travel, and obtain information, where- 
ever Viotti has been, and perhaps I shall be fortunate 
enough to unravel the mystery, and to win your 
violin.' 

"The bargain was concluded. I have constantly 
pursued my investigations since that time. I knew 
that Armand Se'guin had been very intimate with 
Viotti ; that wishing to take lessons from him, and 
knowing that the great artist was always very much 
occupied, he visited him at five in the morning, so as 
to catch him as soon as he ro.se ; that he was always 
attentive to him, and employed every possible means 
to obtain his favor ; that, one day, Viotti complained 
to his servant of his badly made coffee, and Armand 
Seguin, determined that a mercenary should no longer 
fill this oflRce, came every morning to prepaie the 
violinist's breakfast ; 1 fancied that the tin violin 
might have been a present from Armand Seguin, 
and hoped to find, in a similar instrument, at tliis 
sale, the proof of my belief; but my hopes are all 
defeated !" 

I consoled my Englishman on his misfortune, as 
well as I could, and I learned, some days after, 
that he had left for Viotti's native country, Piedmont, 
continually searching for information that as contin- 
ually evaded him. 

This conversation had almost entirely escaped my 
memory, when about two months ago I found my- 
self seated, at the dramatic agency dinner, next to 
Ferdinand LangM, one of my colleagues, an old col- 
lege chum, and one of my best friends. You all 
know that Ferdinand LangM is one of the wittiest 
fellows in existence ; but if you could hear him sing 
one of his pretty songs in the falsest voice that vaude- 
ville actor ever possessed, you would not dream 
that he is of musical origin, and that his father, 
Marius Langle (an Italian, in spite of the French 
termination of his name), was one of the cleverest 
contrapuntists of the last century, and had the honor 
to be Dalayrac's master. I asked Ferdinand Langle 
whether, among his father's papers, he had foimd 
any documents relating to Dalayrac, of whom there 
is no complete biography in existence. After having 
answered my questions, Ferdinand Langle added : 

"If you like, I can give you some musical anec- 
dotes which I heard related to my mother, and which 
may be of interest to you." 

" I thank you sincerely, and as one is never so 
much alone as when in the midst of twenty people 
who are all talking loudly, I beg you not to hesitate 
on the score of propriety, but to give ma some of 
these anecdotes at once." 

" Very good. What do you say to my relating the 
history of the tin violin V 



Yon may judge of the interest which these few 
wor.ls immediately excited in me. I recollected the 
sale at Seguin's, and the Englishman who was pos- 
sibly still seeking the story that I was probably about 
to hear. I was all ears for LnngM's recital, and I 
regret that I cannot give it as he told it. 

"One fine summer evening, my father and Viotti 
were walking in the Champs Elyse'es, and finally sat 
down under the trees, to breathe the air and dust of 
this favorite walk. The night came ; Viotti, who 
was a dreamy fellow, had given himself up entirely 
to those inward emotions that often completely isolat- 
ed him in the middle of a numerous circle; my 
father, who was then busy at his opera of " Corisan- 
der," was thinking over some of the passages in his 
work, — wdien both were disagreeably aroused from 
thought by a sound so false and harsh, that it caused 
them to raise their heads, and open their ears. Both 
looked at each other as if saying — what is that 1 — 
and they understood each other so well without 
speaking, that Violti broke the silence by ex- 
claiming : 

" ' It cannot be a violin, in spite of the resem- 
blance.' 

' Nor a clarinet either,' said my father, ' and yet it 
has some analogy with that.' 

"In order to enlighten themselves,they proposed to 
gain the spot from whence proceeded the discordant 
tones that had attracted their attention. Had they 
not posses.sed ears, their eyes would have led them 
towards the trembling light of a miserable candle, 
burning in front of a poor blind man, crouched at 
about twenty paces from them. Viotti reached him 
first. 

" 'It is a violin !' lie cried, laughing, and return- 
ing to my fiither. 'But imagine of what material ? 
Of tin ! It is too curious ! I must possess the in- 
strument, and you must ask the blind man to sell it 
to me.' 

" 'Willingly,' said my father, approaching the 
blind man ; ' My friend,' said he to him, ' Will you 
sell your violin V 

" 'For what use 1 I must then buy another, and 
this one suits me ; it is as good as I need.' 

" 'You can buy a better one for|the money we will 
give you ; but you must first tell us how it happens 
that your violin is so different from others V 

" 'Oh ! you mean why it is of tin ? That is not a 
long story. You see, my good gentlemen, one is not 
always blind ; I was once a good-natured fellow who 
made some stir among the girls of our village ; but 
I have grown old, and my sight is not what it was. 
I do not know how I should have managed to live, 
hut for the son of my late brother, good Eustace ! 
He is only a poor workman, and finds it hard to get 
his living; well ! he took care of me, and supported 
me in the best manner he could ; but work failed at 
last ; he only made thirty sous a week, and that was 
not enough for two. " If I only had a violin," said 
I to him ; " I knew how to play in my young days, 
and if I could bring home a few two-sous pieces, 
that would help us a little." Eustace made no reply, 
but next day I saw that he was sadder than usual, 
and at night, when he thought me asleep, I heard 
him say ; " Oh, the old serpent, not to give me six 
francs credit ! but its all the same, uncle shall have 
his wish, or my name's not Eustace." At the end of 
eight days my boy came home in triumph, crying ; 
" There's a violin, and a famous one for you ! no 
fear that a fall will crack such a one !" and he gave 
mo the violin you see. Eustace is a tinman ; liis 
master allowed him to take the leavings from the 
workshop to make my instrument, and then he saved 
a little to buy the strings and the hair. I was well 
content ; the poor boy took a deal of trouble, but the 
good God has rewarded him ; ho brings me to this 
spot every morning, as he goes to his work, and he 
takes me back in the evening ; on some days the re- 
ceipts are not bad ; and if Eustace happens to be 



out of work, I can keep the house going, and that is 
pretty good for a follow like mo 1' 

" 'I will give you twenty franco for your violin,' 
said Viotti ; " you can by a far better one with the 
money. But let me try it one momenl.' 

"He took the violin. The singulariity of the tone 
amused him ; he sought, ajid foimd, new effects, and 
did not see the crowd that gathered round him, 
attracted by such novel sounds. A quantity of sous 
and even some silver pieces, fell into the hat of the 
astonislied blind man, to whom Viotti offered the 
twenty francs. 

" 'One moment 1 ' cried out the old beggar ; 'Just 
now, I told you that you might have it for twenty 
francs — but I did not know that it was so good ; and 
now I demand double that price.' 

Viotti had perhaps never received a more flattering 
compliment, so he made no demurs about the extra 
price. He glided througli the crowd with his tin 
violin under his arm ; but ho had not walked twenty 
paces, before he felt some one touch his sleeve ; it 
was a workman, who, cap in hand, with modestly 
lowered eyes said to him : 

" 'I thirds they charged you too much for that vio- 
lin, sir, and as I made it, if you are an amateur, I 
will make you as many as you wish at six francs 
each.' 

"It was Eustace; he had seen the bargain concluded 
and, having no longer any doubts as to his talent fo 
the manufiicture of instruments, he wished to con- 
tinue a commerce that had commenced so well. He 
was obliged to give up the idea, however, for Viotti 
was satisfied with the single specimen for which he 
had paid so well." 

" And what did Viotti do with the tin violin ?" I 
asked Ferdinand Langle. 

" He always kept it, and took it with liim when he 
retired from public life, in England." 

" My dear friend," said I to Ferdinand, "you have 
no idea what a service your story would render to 
one of mv acquaintances ; it would win .a magnifi- 
cent violin for him." And in my turn, I told him 
the story of the Englishman and Viotti's and Armand 
Seguin's sale. 

I have since tried, in various ways, to discover in 
what part of the globe my Engli.shman is now to be 
foimd ; but my endeavor has been in vain. As books 
are read in every land, I have concluded to publish 
my information in this, hoping that chance may 
cause it to fall under my friend's observation, and 
perhaps furnish him with the means of winning his 
violin. 



nsital Correspnknrt. 



CJ* 



New Yokk, June 2.— The winter of 1861-62, 
which was looked forward to with so much uncer- 
tainly by those musical people to whoiu art is a bread- 
winner as well as something else, has not proved 
so disheartening as it was natural for them to fear, 
in view of the general pre-oceupation of the public 
mind in the grave questions and events of the day. 
It is true that no musical sensation has galvanized 
fashionable circles into a superficial and temporary 
interest in the art, or rather, in some artist ; neither 
has there been any distinguished importation of 
passers prima-donnas, lion pianists, et hoc genus omne. 
Perhaps art has lost nothing, but rather derived some 
little benefit, from the deficiencies of the season in 
these respects ; amateur societies, private concerts, 
&c., seem to have acquired a new and more genuine 
impetus than usual — one from within, rather than 
frorri without. 

The events of most import to musical progress 
and cultivation here, have been the subscription con- 
certs, of course ; and among them those of the 
Philhaemonic Society deserve the first mention. 
On looking over the programmes of the five concerts 



BOSTON, SATUEDAY, JUNE 7, 18 6 2. 



77 



of the past (twentieth of the Society) season, we 
find the selections, of orcliestral works at least, to 
have been good on the whole, and free from preju- 
dice or tendency. Of Beethoven, we have had tlie 
Third and Fifth Symphonies, the " Fidelio" over- 
ture, the great violin Concerto, opus 61, and that for 
piano and orchestra, opus 37. Mozart's Symphony 
No. 5, and the Concerto No. 8, for piano and orches- 
tra, were interesting productions as points of com- 
parison with more modern works. Of Mendelssohn 
we had but a taste— a bonne 6o«c/ie, however ; the 
"Fingals' Cave" overture, and two arias. Then we 
had Schubert's glorious Symphony in C major, of 
which Robert Schumann has so truly said — " those 
who do notjknow and admire this noble Symphony, 
understand nothing of Schubert's genius." 

How many conclusions as to the effect of a work 
on the public are unprejudiced, and uncolored by 
the opinions of that part of the public immediately 
surrounding us ? Your New York correspondent, 
who found the Symphony tedious — by the ears of 
Midas, how could he do so ? — was evidently impress- 
ed with the belief that every one else, judging like 
his particular friends,also found it so. While our own 
conclusion would have been a contrary one altogether, 
had we judged only from the opinions expressed by 
"our set." The symphony according to them, was 
romantic !— imaginative ! ! — sublime! ! ! — its rehears- 
als were followed with avidity; a large party of 
ladies cro-ssed over to Brooklyn amid the sliarpest 
storm of the season, to hear it performed by the 
Philharmonic Society there ; and one unfortunate 
" she " appeared with red eyes at the breakfast table 
on the morning after that performance, because her 
promised escort had declined to become responsible 
for the possible accidents that might attend a journey 
tin'ough three feet of snow, under a starless sky, 
and over a storm-ploughed river. So much for var- 
iety of opinion ! 

But to return to our Philharmonic Society. Two 
new works were given this season ; a Serenade for 
small orchestra, by Brahms (No. 2, opus 16), pleas- 
ing, well conceived and instrumentated, but too long. 
Indeed this Serenade, if put to the use which its 
name suggests, would indubitably, after delightfully 
awakening and interesting the fair one, as agreeably 
lull her to sleep again. The other novelty was : "2 
Morceaux Symphoniques " by Goldbeck, which 
proved that the ambition of this popular pianist is 
not a common one, or confined to the sphere of his 
particular instrument. Then we had Marschner's 
" Vampyr" overture, selected as a token of respect 
to the memory of the recently deceased composer ; 
Weber's "Ruler of the Spirit" overture, and Schu- 
mann's Symphony No. 4, in D minor, one of the 
finest symphonic productions of the season. Neither 
were the composers of our day neglected ; we had 
Wagner's brassy " Rienzi" overture ; the " Carnival 
Remain," by Berlioz, which is effective, and pleases, 
and leaves an impression on the mind, like that left 
by the visit of a witty and brilliant friend — much 
such an impression, probably, as the composer in- 
tended to make ; and Liszt's " Preludes " and 
his Pofeme Symphonique "Orph^e," — neither of 
which works too favorably impressed us at first, but 
which, after following the rehearsals, and careful 
study and playing of the scores, grew more and more 
upon us. These, with .some solo pieces of lesser 
importance, have been the productions of lastseason's 
Philharmonic Concerts. The vocal numbers, with 
but few exceptions in point of musical worth, and 
with scarcely any as regards the rendition, were far 
below what should be the standard of such a society. 
Next in importance have been the classical soirees, 
six in number, of Messrs. Mason and Thoiias. — 
These interesting chamber concerts, now past their 
seventh season, are, it is well known, devoted ex- 
clusivelyto the cultivation of the Qu.artet and kindred 
compositions ; and are as perfect and enjoyable as 



we can dare to hope for here. The regular members 
of this society, Mr. Mason and Messrs. Thomas, 
Mosenthal, Matzka, and Bergner, with the occasional 
assistance of other instrumentalists, have worthily 
lirought forward for popular appreciation some of 
the finest quartets, quintets, trios, and piano and 
violin duos and solos. Beethoven, as a matter of 
course, had the lion's share in the programmes ; 
Mozart, Schumann, and Schubert were equally well 
represented, nor was genial father Haydn neglected ; 
we had Spohr's quartet in E major, and, by way of 
novelty a trio by Volkmann in B flat major, more 
interesting from its novelty than its worth, however. 

Messrs. Mills and Mollenhauer started on a 
new Quartet crusade this winter. Their selections 
were, in part, excellent. Should these artists essay 
a .second series of these soire'es, additional practice 
together, among the members of the quartet, will 
perhaps impart tlie finisli and mutual understanding 
so necessary to a complete execution. The qualities 
that make a good solo, and a finished quartet player, 
are distinct and special, and all are a matter of ac- 
quisition, and not of intuition. 

Tlie performance, in the Brookltn Acadeimt 
OF Mnsic, and subsequently under less favorable 
circumstances, in New York, of Robert Schumann's 
Cantata, " Paradise and the Peri," by the Lieder- 
kranz and Philharmonic Societies, with solo singers, 
was too remarkable, as regards the music itself, at 
least, to be passed over in silence. The mere pro- 
duction of such a work, even in an inferior manner, 
was an event in the musical annals of New York. — 
As Spenser is a poet for poets, so is Schumann 
the composer for musicians. All the impassioned, 
ideal grace, the Oriental coloring, that Moore's ele- 
gant, finished, but superficial verse failed to give the 
subject of "Paradise and the Peri," Schumann's 
music has imparted to it. Yet this work is full of 
faults ; we cannot expect perfection from this inspired 
but unfortunate and ill-balanced spirit ; the trail of 
the serpent is among the flowers. We are led too 
often beyond limits where, beauty leaves us, into a 
desert without form, and void, or into labyrinths of 
bitter, thorny, too-long unresolved dissonances and 
enigmatical modulations. Yet in spite of these de- 
fects, and of the frequent harshness and nnmelodic 
management of the vocal parts, the Cantata overflows 
with passages of almost unparalleled beauty. The 
whole of the second part is a continual flow of in- 
spiration ; the chorus of the Genii of the Nile, with 
its marvellous instrumental accompaniment, the con- 
tralto solo, " In the green wood," the impassioned 
"Maiden's Song," the lovely solo and chorus "Sleep 
on, in visions of odor," — these were indeed conceiv- 
ed and written in a happy hour ! Then the opening 
of the first part, the whole fine "Gazna" scene, the 
elegant Houri chorus in the third part, the quartet 
and chorus "Blest tears" — such exquisite passages 
cause us to forget the length to which some recitatives 
and fugued choruses are drawn out, by no means "in 
linked sweetness," — especially those of the third part. 
This Cantata requires very finished and delicate ren- 
dering, and careful study of its various effects ; it 
must be this necessity of the clearest execution, add- 
ed to the fact that the work appeals more to some in- 
dividual temperament than to the general public, 
that has kept it from the popularity that, in an 
abridged form, at least, its great beauty would seem 
to command for it. That the rendition here was not 
of the perfect and almost impossible character that 
the work deserves, we need liardly say. The orches- 
tral accompaniment was good, though it might have 
been more finely shaded ; the choruses were in gen- 
eral firmly sung, although the same deficiency of 
variety of tone and expression was observable in them 
as in the orchestral performance. But the solos 
were very indifferent ! Good will, however, was not 
wanting, and, with all its short-comings in rendition, 
the production of such a work was an experiment 



for which all music-lovers had cause to be thankful. 

You copied and commented on the queer criticisms 
that appeared in some of the papers here, about the 
Christmas performance by the Harmonic Society, 
of Handel's "Messiah." But, after all, the criticisms 
were not so senseless, if written by people who judge 
of music, not for and in itself, but by the way in 
which it is performed. We, whose earliest musical 
recollections are those of of the glorious English 
performances of the master's clear, manly, noble, 
massive conceptions, scarcely recognized the oratorio 
in question. To attempt to perform such a work 
with a small orchestra, an amateur chorus, arpeggio- 
ed piano accompaniment, and, with the exception of 
the soprano, timid and worn out solo voices, is, to 
say the least of it, a rash undertaking. The pleas- 
antest thing about this occasion was the presentation 
of a gold medal from the Society to Mr. Bristow. 

The spasmodic efforts of the Opera company have 
not been very edifying this season. Operas that 
everybody knows by heart, to which the singing of 
Miss Kellogg has occasionally added interest ; an 
imperfect reproduction of " Masaniello," the intro- 
duction of the little comic operas " Betly" and "Les 
Noces de Jeanette " to a New York public ; such, 
with the welcome but brief re-appearnnce of Madame 
D'Angri, and the doubtfully successful debuts of 
third-rate singers, have been the features — save the 
mfivk ! — at the Academy of Music. When shall we 
have a small, good, permanent Italian opera com- 
pany in New York, supported by subscription 1 For 
in no way, save Iiy governmental aid, can a complete 
" monster" opera house be made to pay here. 

Of Mr. Gottschalk's concerts it is unecessary 
to speak again ; their character, as well as that of 
his playing, is well known ; and tlieir principal aim, 
equally well known, appears to be that of popular- 
izing his own compositions. AVhat would be the 
tate of artists of this stamp, in communities like 
those that sometimes blame the nOble Clara Schu- 
mann, because her programmes invariably contain at 
least one of her gifted husband's piano-forte works 1 
The Arion, Mendelssohn, Tenton,English Madrigal, 
and other societies, have not favored the public ear 
often this year. The operatic and ballad concerts 
by our resident artists have merely excited our won- 
der, that so many people will persevere in singing 
and playing the same hackneyed vocal and instrutal 
chevaux debatable, to the neglect of the little known 
treasures that would give charm and variety to their 
selections, and that only await a "pathfinder," to be- 
come popular. 

A new " Stabat Mater Dolorosa," composed by 
Mr. J. V. M. BuscH, was performed last night at 
the French R. C. Church of St. Vincent de Paul, 
by Mrs. Brinkerhofl^, Mdlle. Gomien, Mr. Durant, 
and Seiior Gonzalez, with a (very) small chorus, and 
Mr. Duehaner at the organ. We had heard a good 
deal beforehand of this composition, of the difficulties 
attending its former expected performance, and had 
somehow got an idea into our heads that its author 
must be a persecuted and unjustly unacknowledged 
genius. Alas for our preconceived and romantic 
conjectures ! these went the way of many other illu- 
sions last night. Mr. Busch's "Stabat Mater" does 
not possess the merit of originality, or that of 
judicious imitation ; it is full of cadences and pass- 
ages that we are sure we have heard before, we are 
not quite certain where, but decidedly not in the best 
of musical company; and these thefts do not by any 
means strike us with that indignant admiration with 
which we greet the discovery of Byron's clever pick- 
ings and stealings, from the old English, Meredith's 
from the French, Mr. Longfellow's from the German 
authors ; or with the mingled feeling which we ex- 
perience on reading of Claude Duval's elegant ex- 
ploits in highway robbery. The whole coloring of 
this "Stabat" is monotonous, or rather null ; and the 
indifferent execution, and the creaking of the organ 



78 



DWIGHT'S JOURNAL OF MUSIC. 



did nothing towards clothing it with a grace that was 
not its own. Judging fi-oni its effect on last night's 
audience, Mr. Bnsch's "Stabat" would find its fullest 
appreciation in the East, if we may trust Villoteau's 
remarks on the Oriental music, in his " Description 
de I'Egypte," and which we translate : "The Orien- 
tals, and, above all, the Egyptians, consider that 
musician the most estimable who can dissipate their 
melancholy, cause them a good laugh, procure them 
a quiet sleep, and then awaken them again, — all 
through the charms of his art." Alma. 



Monster Young Lady Concerts — Stolen 
Thunder, &c., &c. 

Shelby viLLE, Ky., IVIay 22, 1852. 

I have recently read with much surprise an article 
which appeared in your Journal from the pen of 
Prof. J. H. Kappes of Shelhyville, Kentucky, in 
which he makes some sarcastic allusions to the per- 
formances of my mnsic class in the Shelhyville Fe- 
male College, and in which he refers also with ap- 
probation to an article published in your Jonrnal, 
June 29, 1861, with the signature " T," in which an 
ill-natured caricature of one of my concerts is drawn. 
After closely examining the spirit and style of these 
two communications, I am not alone in regarding 
them as emanating from the same source. You will 
doubtless iillow me the privilege of correcting some 
false statements and repelling some offensive insinua- 
tions. 

In both communications allusion is made to the 
fact that I arranged, as part of my extensive pro- 
gramme, a piece of music to he played on six pianos 
with four performers at each instrument. Wot being 
able to coinprehend how tliat conld be accomplislied, 
they insinuate tliat a deception was practised, that 
the pianos were only six octaves, and that each of 
the four young pupils played with only "one hand." 
All of these are misstatements. There was not a 
six-octave piano in the number, and each of the per- 
formers, who were nearly all little (litis, played with 
both hands. I cannot imagine how such reckless 
statements could be made without some malignant 
purpose to deceive and insult, especially when cor- 
rect information was so accessible. Any person, 
anxious not to make a misstatement, could have sat- 
isfied himself by an inspection of the manuscripts 
— by closely watching the hands of the performers — 
and by making inquiry of any one of the twenty 
four performers, or any one of the pupils or teachers 
of the Institution. 

The chagrined Professor complains that " at the 
exhibitions of our Seminaries pupils frequently re- 
ceive extravagant praise for that which is simply 
show, possessing but little merit. The delighted 
public are not aware that it is comparatively an easy 
thing for four young ladies to play on one piano, 
particularly if each play with one hand." Now the 
truth is I had heard that the Professor, so averse to 
shoio, had determined to introduce at his public con- 
certs six pianos with three performers at each. Re- 
solved not to be surpassed in honorable rivalry by a 
school in the same town, I successfully accomplished 
the /eat to which allusion has been made. But the 
Professor, who denounces mere show, when he was 
startled by the information of my plan, added two 
more pianos, and succeeded in having a number of 
pieces played by twenti/-four performers with eifiht 
pianos. It is with a good grace indeed that he writes 
to Boston, condemning me and my pupils for mere 
show ! The truth is, he was disappointed because I 
stole his own thunder, and " finished up the whole 
with remarkable eclat." Hinc illae lachrimae. The 
great musical Barnum of the West was morti- 
fied by being out-Barnumed on that occasion ; per- 
haps that changed his theory. When the Professor 
refers to me as an example of a teacher who " aims 
at nothing higher than what is demanded by a de- 
praved and uncultivated public taste/' he not only 



offers a gratuitous insult to me, but to the communi- 
ty in which wo have both lived, and prospered for 
many years. The corre.spondent " T " also writes 
sarcastically that, following my example, " teachers 
need not spend weeks and months of unnecessary 
drill to render pupils exact and independent in the 
presentation of their pieces before an audience who 
never look beyond the .surface, but who good-natur- 
edly bestow their approbation on what is seemingly 
meritorious." Now I suppose the "immense and 
brilliant audience," among which "T" was "closely 
wedged in," are as capable of appreciating good 
music as any " immense and brilliant audience " of 
Townsend, Mass., wdiere " T " claims to hail from. 
The town of Shelhyville has been famed for years 
for three superior Female Schools, which have long 
flouiished here. Between two and three hundred 
music pnplls have been taught here annually — Prof. 
Kappes having himself had the direction of the mu- 
sical education of a large class. All the schools 
have been in the habit of giving private and public 
concerts. I doubt if the citizens of any small inland 
town in this country have heard as much superior 
music as our people. When then this " immense 
and brilliant audience," for three successive nights, 
listened with thrilling interest to the varied musical 
performances of my pupils, and rendered applause 
at " every performance," they paid a high and de- 
served compliment to my class. One would infer 
from the communication of " T " that the piece for 
twenty-four performers was the most important part 
of my programme ; but the fiict that a number of 
most excellent pieces, such as Overtures to Don Gio- 
vanni and Fra Diavolo for two pianos and four per- 
formers — Concert Polka by Wallace — "Angels' 
Serenade," a three-part chorus by Concone, etc., 
were correctly and some of them brilliantly per- 
formed, will demonstrate how partial and unjust 
was the criticism towards myself and the young 
ladies. 

The correspondent shows much ignorance when 
the statement is made that " the efforts of the young 
ladies were most admirably seconded by the magic 
tones of the Professor's violin — so skillfiilli; snperadd- 
ed ax effeetttalli/ to cover all defects and finish up the 
whole with remarkable eclat." Now if mv pupils 
did not play their pieces correctly, my violin, so far 
from concealing discords, would have only more 
conspicuously developed them. 

But, Mr. Editor, I have made this communication 
longer than I at first intended. I feel mortified that 
I am called upon to resent this uncalled for, repeated 
and malicious attack. Prof. Kappes and myself 
have long lived in the same town — are engaged in 
the same profession — have a large amount of work 
to do — and have enjoyed a large amount of success 
in teaching numerous clas.ses in popular institutions 
among a generous and intelligent people. There 
was no need that he and his friend should send their 
communications to attack me and my classes. The 
public here have formed their own estimate of us, as 
teachers of music. His traducing me will not make 
them alter their verdict. Age should teach him to 
attend to his own business, and to suppress disgust- 
ing displays of envj'. C. Kinkel. 



Handel and Hatdn Society. — The annual 
meeting of this Society was held last week at Chick- 
ering's Hall. In the absence of the President, Mr. 
Oren J. Faxon presided. The Treasurer reported 
that the receipts for the year amounted to S4623 20 ; 
expenses, $.'5702 40 ; balance against the Society, 
$479 20. The total indebtedness of the Society 
amounts to $1279 20. 

The Secretary reported that four new members had 
been admitted during the year and five discharged. 
Four concerts have been given, which were attended 
with success. 

The following officers were elected for the ensuing 
year: — 

President, Dr. J. Baxter Upham ; Vice-President, 
Oren J. Faxon; Secretary, Loring B.Barnes ; Treas- 
urer, Matthew S. Parker ; Liln-arian, Geo. H. 
Chickering ; Trustees, George W. Palmer, James 
Rice, Wm. Ilawes, H. Farnam Smith, George P. 
Carter, Isaac Woodward, Wm. 0. Perkins, Samuel 
L. Thorndike. 



gfoigljfs loiinral of Hliisk. 



BOSTON, JUNE 7, 1863. 

Music in this Ndmcer. — Continuation of Chopin's 
Mazurkas. 



Church Music. 
II. 

A few weeks since we spoke of the want of 
better music in our churches. The unedifying 
humdrum of our common psalmody, seeking to 
atone for its monotony by ringing endless changes 
on itself, yet seldom touching a new chord in any 
soul ; — the opposite extreme of sensuous and 
showy entertainment in the almost operatic 
floweriness, the questionable pathos and the calcu- 
lated effect of so much of the current Catholic 
mass music ; — the negative, ungcnial virtue of 
the English Chantings and Te Deums, -which 
rely more on a certain uniform, staid dignity 
of style, than on any wealth or warmth of musi- 
cal feeling and ideas, more on a good manner 
than on matter, musically speaking, and which 
therefore, like the Ambroslan and Gregorian 
beginnings in the early Christian Church, par- 
take more of ritual than of music, more of 
prescribed ceremony than of spontaneous expres- 
sion, more of law and limitation than of poetry 
and genius, — being an art which patient industry 
may learn, and no man needs to be Inspired with- 
al : — these were briefly hinted at as common 
complaints, one or tbe other or all of which are 
heard almost every time you meet music-lovers 
coming out of church ; or, if you hear admira- 
tion, ten to one it Is just such testimony as a 
good cause would not covet. We then asked 
whether there is not " a music, simple, practica- 
ble, real In its origin, essentially sacred, born 
with the birth of Protestant worship, and one 
with its whole spirit, already existing, both In the 
simple tune form and In the Inexhaustible splen- 
dors of polyphonic Art-transfiguration ; out of 
which too our own live 'psalm-tunes' have derived 
their root ; and which may profitably be made 
the basis of an e.xperlment of better music in our 
churches, the staple of the musical service, yet 
capable of infinite development into more rich 
and complex forms, as means and culture war- 
rant ? " 

We think there is such a music ; and have 
already suggested that it may be found in the 
German Choral — this for the simple form, the 
germ of all we want — and, for development, for 
higher Art, in the polyphonic treatment of the 
Choral, the inspired illustration of its intrinsic 
power and beauty b}' Sebastiax Bach. 

Now we proceed further to suggest how this 
may be applied. AVe mean here and now, to 
meet the present want. Of course, therefore,we 
do not attempt to enter Into all the possibilities 
that may flow out of a good but very simple ini- 
tiation of the plan. We propose the plainest 
practicable form of the thing first; all that is 
wanted Is a sound root and a good soil, and it 
wiil grow. Nor do we makeany dogmatic pre- 
scription of one way and one only; in the multi- 
tude of experiments, we propose one as worthy 
to be tried, as being within comparatively easy 
reach, and certainly good so far as it will go. 
(How far It is capable of going — the music in 
itself we mean — how pregnant a germ the Choral 
'8, they only have begun to conceive who have 



BOSTON, SATURDAY, JUNE 7, 18 6 2. 



79 



studied the wonderful and inexhaustible wealth 
and beauty of Bach's sacred music, whose whole 
Art theiein is founded on the Choral.') 

1. Let us banish the yoluminous and number- 
less collections of psalm tunes; at least, the whole 
business of psalm-sinorinfr by a choir. Instead o* 
the hundreds and thousands of such tunes, select 
a very small number — a dozen for a besinnino;, 
fifty for the whole book — of the sterling, best 
known, most loved Lutheran Chorals (of course 
a still older origin would be nothing against 
them) ; but such, we mean, as sprang into exis- 
tence in a period of real religious inspiration, out 
of the heart of the people, and have ever since 
been sung and cherished by the people, old and 
young, in the land of Luther, where religious 
freedom first began. Among these some of our 
own familiar psalm-tunes will be found. They 
are simple, solemn melodies, sung in unison (with- 
out harmony) by the whole people Some of thera 
are fuU of grand confidence and trust, forgetting 
cares and sorrows in a sense of the infinite majes- 
ty of God ; some breathe an unspeakable tender- 
ness of piety ; yet all have something fresh,naive 
and wholesome, in marked contrast with such 
.sentiment and pathos as indulges itself chiefly in 
Italian operatic melody. 

A congregation, or a goodly portion of a con- 
gregation, could soon be taught to know and sing 
in unison a dozen of these tunes. Here in 
Boston, thanks to the wise turn given to thesing- 
ing in the public schools, the children, the whole 
generation, are already growing up knowing by 
heart and singing a number of these Chorals. In 
the annual Exhibition is not the effect more 
wonderful and more religious, than almost any- 
thing we ever hear in any of the churches ? It 
win be still grander,when they are sung (as well) 
by riper voices.men and women with the children. 
The support of the Organ of course is desirable : 
that supplies the harmony ; and that may fill 
pauses between the lines with rich and sugges- 
tive interludes, enveloping and lifting up the 
whole thing into a higher plane of Art. The 
artistic soul of it all should reside in the organist, 
who should be a thorough musician, trained in 
the polyphonic school of Bach. With such a 
man for teacher and director, according to his 
zeal and faculty, much raight be done. 

But here let us remark that we do not wage 
war upon the hymn books, the sacred poetry 
which is so dear to Christians. Let the minister 
read hymns, and not be limited in choice, so they 
be true hymns and fitting to the time. But what 
need is there that these same words should be 
sung ? Or why should what is sung,be also road ? 
Who can detect the words in one line out of a 
hundred sung ? Why not let the hymn be read, 
and let a corresponding strain of music follow ? 
— music with its own words, words fitted to it- 
self, inseparable from it, instead of trying to force 
tunes into a false alliance with the various verses 
of so many hymns, agreeing in nothing but the 
metre — metre, mind, and not the rhythm,for these 
are often distinct things, and prose too has its 
rhythm. The German chorals have for the most 
part some irregular kind of metre scarcely found 
in our hymn books. They must be sung, if at 
all, to their own words. But if the sentiment, 
the feeling correspond, what further correspond- 
ence ought we to require ? Indeed it were much 
better (for the listener,if such there be as well as 
singers) to give oneself freely up to the influence 



of the music, melting away the chains of word- 
thought, and liberating the soul for higher flights, 
than to be puzzling one's wits in trying to follow 
the words. 

2. But while the Choral sung in unison is the 
simplest thing and should be the foundation of the 
musical service, it by no means follows that it 
should be the only thing, or that it should come 
fir.st in order. Harmony (of course with melody) 
is better than mere melodj' ; for it is as it were 
melody glorified and set star-like in the heavens. 
The Quartet Choir, four voices moving in distinct 
but blendeil parts, produces heavenly effects sur- 
passing (when the music sung is of the true 
quality) any unison of howsoever great a multi- 
tude. Light itself grows tiresome until broken 
Into harmony of many colors. And as the case 
now stands, the Quartet Choir,or even the larger 
choir, is more immediately available than any 
decent singing by the congregation. 

We would suggest therefore to begin with the 
Quartet Choir. Let such a clioir, with the riurht 
kind of director at the Organ, sing some of the 
Chorals as harmonized b)' Bach. Nothing is or 
can be finer, purer, nobler, more religious, more 
full of satisfying beauty, more perennially fresh 
and safe from ever ijrowing hacknied, than the 
Choral in his setting. His harmony is polyphonic, 
that Is many-voiced, each voii'e or part having 
its own gi-aceful, easy individual movement, yet 
each helping out the other and subserving the 
unity of the whole. Other composers have had 
this art, but all award the palm of highest mas- 
tery therein to Bach. At all events we have 
them as he wi-ote them, already made to hand, 
and can there be anything better ? Why not 
make him the text-book, whether we make ex- 
cursions into wider fields or not ? With a large 
choir this four part harmony would sound still 
better; best of all with a massive Oratorio 
chorus — we have heard the like in the two 
Chorals introduced by Mendelssohn in his " St. 
Paul." 

Meanwhile the congregation, or a fair repre- 
sentation of it, may be taught to sing two or 
three, or more, of these tunes in unison, as a be- 
ginning, learning the love of them all the while 
from choir and organ. Then imagine the beau- 
tiful and quickening effect of such an alternation 
as this : First, the people sing in unison, however 
coarsely, if only rhythmically and with some de- 
gree of unity, one verse of the Choral, with 
organ accompanying ; and then, they pausing, 
listening, the same Choral floats down from above, 
in four-part harmony, by pure voices, unaccom- 
panied, sung by the choir ! Before it was hu- 
man and terrestrial, now it sounds angelic, 
heavenly ; before it was of the earth, earthy, now 
it is glorified and of the spirit world. The most 
sublime impression that we ever yet received 
from music in a church,was at a "liturgical service" 
so-called, consisting principally of music, on 
Christmas Eve in the Royal church, or Dom, in 
Berlin, when the exquisite silvery harmony of 
the 80 or 90 boys and men of the celebrated 
Dom Chor alternated in this manner with the 
coarse and clumsy unison of the whole people. 

So much for the present, for a beginning. — 
Ampler developments may follow. This being 
the first thing and the basis, larger forms of Art 
may gradually be added, Motets,Anthems,perhaps 
judicious selections from Oratorios and Masses, 
&c.; about which, and about another element, a 
great essential, the proper Organ music, some- 
thing has yet to bo said. 



Benefit Concert. — Some time since a music- 
lover expressed in these columns a desire to liear 
performed in some of our concerts certain composi- 
tions of a kind not often heard here, but very 
common in Germ.iny ; namely concerted instrumen- 
tal pieces lying between the Orchestra and Chamber 
Music, such as Sejituors, Octets, &c. We are glad 
to see tliat an example in this kind is to be set, and 
that in the pleasant form of a Complimentary Benefit 
to be given to Mr. Tuomas Ryan by his fellows of 
the Quintette Cluli, and other artists. It will take 
place next Tuesday evening, at Institute Hall, in 
Roxbury (tlie horse cars pass it). The programme 
includes the Octet in F hy Schubert, and the Nonetto 
by Spohr (In which the Club will be assisted by 
Messrs. Rieas, Hamann, Nitz and Stein), and of 
a variety of lighter things, solos histrumental and 
vocal, &c. Miss Pearson Is the singer. Mr. Ryan 
has been so active in the canse of classical music 
here, for mauj' years, and has so many friends, that 
we cannot doubt the capacities of the hall will be put 
to a test. 

Mr. EicriBERo's charming little buffo opera, "The 
Doctor of Alcantara," which has caused such fresh 
enjoyment at the Museum lately, is in course of 
publication, both the entire work, and the songs, 
ducts, &c., separately, by Messrs. Oliver Ditson &, 
Co. Several of the most popular numbers, already 
Issued, are named In our advertising columns. We 
have only room now to say, that pleasant as we 
found them in the hearing, they have Interested us 
still more In the notes. Felicities in Idea and treat- 
ment, in spite of their simplicity, are not infrequent 
In tliese little pieces. 



wnt Shoair. 



Leipzig. — In the performance of Bach's Passion 
music, during Passion Week, Carl Reinecke direct- 
ed, the violin solo was played by David, the organ 
was played by Richter (all professors in the Conser- 
vatorlum), and the part of " the Evangelist" was 
sung by Schneider of Wiesbaden, who is regarded 
as the best "Evangelist" in Germany. — Leipzig has 
lost its excellent violoncellist, Davldhoff, who has 
been tempted to St. Petersburg by a salary of 2,000 
silver rubles. 

The following pieces of church music were sung in 
the Thomas Church about the middle of April. On 
the 12th (Saturday, at half past one) & Kijrie and. 
Gloria by Spohr; on the 13th (Sunday) Handel's 
Passion Oratorio : "Feelings at the grave of Jesus;" 
on the 16th, motet by Hauptmann ; on the 17th, 
motet by Schicht : " Wir driicken dir die Aiigen zii ,■" 
19th, motet by Haydn : " To thee all praise and 
glory belongeth," and motet by Schicht ; 20th, 
Hymn by Handel ; 21st, at 8 in the morning, ijissa 
by Cherubini, and Hymn by Spohr. 

Dresden. — On Palm Sunday Cherubini's lie- 

guiem and Beethoven's Ninth Symphony were finely 
given under the direction of Capellmeister Rietz. 

Stuttgart. — At the last subscription concert 
Rubinstein's new Concert Overture and Scliumann's 
"Parrdlse and the Peri" were performed. Molique's 
Oratorio " Abraham" was given on Palm Sunday, 
Carl Eckert conducting. The reception was friendly, 
if not enthusiastic. 

Berlin. — The principal novelty at the Royal 
Opera House during the past month, was the produc- 
tion of Herr Bott's new opera " Actrea, the maid of 
Corinth," of which we copy a description on another 
page. The low opinion there expressed of it is more 
than confirmed by the correspondent of the Vienna 



80 



DWIGHT'S JOURNAL OF MUSIC. 



Musik-Zeitung, from wliom we translato the follow- 
ing :— 

" Herr Bott has not given an overture. Instead of 
improving this last opportunity of proving his capa- 
city for a well-worked piece, he offers nothing but a 
few bars of very fiat, unsatisfactory introduction, 
which are imitated, too, from MendLlssohn's Ruy 
Bias. Immediately, upon the first chorus is impress- 
ed the stamp of an extremely trivial Liedertafel 
sing-song, for which at the highest Gumbert or Proch 
might envy the composer,and which, inspire of that, 
recurs three times in the opera. The theme of the 
succeeding male chorus is borrowed — painful con- 
trast ! — from the A flat major movement in Beet- 
hoven's great E flat Trio. A festival scene in 
Corinth is danced olT afier the pattern of the most 
ordinary ballet style ; the next aria, of the prinm 
amoroso is a faded, empty salon piece par excellence, 
— and that ends the first act. Nowhere any trace of 
a finely declaimed recitative, of ensembles which in- 
terest through polyphonic conduct of the parts. The 
treatment of the orchestra is pitiful — at the farthest, 
only here and there an effort in a single passage to 
produce effect by tone-color or to express chromatic 
despair. And as for the style'in which the vocal 
parts are written, we think of no example, except it 
be in Spoutini or Wagner, where such violence is 
done to singers. 

"What we have said of this first act, is equally 
true of all the others ; wlicrevcr we look, there is the 
mo,st complete impotence of thought, most utter 
want of the gift of invention and of plastic power. 
Eelalively the best number of the opera is unquestion- 
ably a chorus of women, with ballet, in the fourth 
act; and that for the simple reason, that it is borrow- 
ed again, almost note for note, from the chorus of 
women with ballet in Spontini's Cortez {2nd act) ; — 
not to speak of other reminiscences upon a grand 
scale from Weber's Freyschiltz (Roman city ladies, 
for instance, singing the beginning of the hunters' 
chorus!), from the Hnciiienots, TannliSuser, Spohr's 
Faust, &c., &c. To make a short story of it, there 
are things which cannot be criticized, because they 
are beneath criticism, and with such things belongs 
Bott's opera : 'The Maid of Corinth.' " 

Passion week was celebrated by several Musical 
societies, who performed some of the greatest sacred 
compositions. The Sing-academie gave Bach's 
Malt/idus- Passion ; Stern's society, Beethoven's ilissa 
Solennis ; two other societies gave Graun's Tod 
Jesu. 

The following operas were performed at the Royal 
Opera during the month of March : Rossini's Tell, 
with Herr Ferenczy from Riga as Arnold ; Weber's 
Euryanthe; Spontini's Cortez; Donizetti's Fille du 
Regiment, twice, with Mile. Desiree Artot ; Mozart's 
Zauberjlole, twice ; Auber's Fairy Lake ; Meyerbeer's 
Propheie (Ferenczy) ; Donizetti's Elisir d' Amore 
(Artot), twice ; Mozart's Clemema di Tilo, on the 
king's birthday ; Don Juan ; Weber's Freischiitz ; 
M^hul's Joseph in Egypt; Bellini's Sonnambula 
(Artot). Mile. Artot, in the parts of Marie, Adina 
and Amina, is pronounced little short of perfect, in 
spite of the fact that she gave the spoken dialogue in 
bad German, and sang in French. 



Cassell. — The operatic repeiloire during the past 
season was as follows : 

Mozart: Don Juan (three times), Ke Zauberjiole, 
Figaro's Hochzeit, and Vie Entfulirung (three times). 
— Beethoven: Fidelia (three times). Weber: Da- 
Freischiitz (tmce). Kreutzer : Nachtlager in Grena- 
da. Mehul : Joseph en Egyple (three times). Cheru- 
bini : Les deux Journges. Maurer, L.: Aloyse (twice). 
Marschner : Templar und Jiidin (twice). Lortzing : 
Czaar und Zimmermann, Undine. Nicolai ; Die 
Liistigen Weiber von Windsor. Wagner : Tatm- 
haiiser. Flotow : Sirudella, Martha. Halevy : 
La Juive f twice). Meyerbeer: Robert le Diahle 
(twice), Tjes Huguenots (three times). Auber : La 
Part du Diable (three times). Adolphe Adam : Le 



Brasi^enr de Preston. Rossini ; It Earbier di Seviglia, 
Gugtielmo Tell (twice). Bellini : La Sonnambula. 
Donizetti : La Fille du Regiment, Lncrezia (twice). 
Belisario, I^ucia di Lam7nermof}r. Reiss : Otto der 
Schiitz, new (three times). OfTenbach : Orphe'e aux 
Enfen's (five times). 

in a few weeks Spohr's Jessonda, also, will have 
been ]ierformed, after a rest of nearly three years, 
and will be immediately followed by a revival of 
iMarsehncr's Lfans Heiting. AVith regard to the man- 
ner in which the operas in the above li'st were execu- 
ted generally, it may be designated as a careful 
manner; but some of the works, such, for instance, 
as Die ZimberflSle, Figaro's llodizeit, Fidelia, Joseph, 
and Undine, were performed with extraordinarj' 
excellence. 

Of the instrumental concerts in Cassell a corres- 
pondent of the London Musical World gives the 
following report. The young violinist, Isidor Lotto, 
here referred to — a mere boy, of gypsy origin, and 
most interesting appearance — we heard last year in 
Leipzig. The old Moscheles, who sat by our side, 
remarked that he had never heard Paganini's pecu- 
liar style and execution so nearly approached. 
Unfortunately the yonth seemed to take too exclu- 
sively after that mere virtuoso school. But for the 
extract : 

There have been four subscription concerts given 
by the Ducal band. At the first of these concerts 
Herr Hermann Levi, from .Mannheim, produced a 
highly favoraI)le impression of his talent, both as a 
composer and a pianist, by his performance of an 
original concerto for piano and orchestra. Althouixh 
there are evident marks of the influence of Mendels- 
sohn and Schumann in the said production, the 
independent talent of the composer cannot he denied. 
The instrumentation is especially worth}' of praise, 
and the structure of the entire work thoroughlv (jood. 
The youni; violinist, Herr Isidor Lotto, from \yiirsaw, 
was also successful in the first movement of the con- 
cerlo in E major, by Vieuxtemps, and the "Perpetu- 
um moI>iIe," by Paj^anini. At the second concert 
Herr Hans von Biilow was the chief attraction. The 
principal works selected by him for performance 
were, Henselt's Concerto in F minor, Beethoven's 
sonata. Op. 110, and Liszt's " Fantasia on Hunga- 
rian Melodies." The third concart introduced to us 
Herr Alfred Jaell, always a welcome visitor, who, on 
this occasion as well as on all previous ones, met 
with a very warm reception. He took part in Spohr's 
C Minor quintet for piimo, flute, clarinet, horn and 
bassoon, and was well supported by the leading 
membe